Return to Shortland Street

Shimpal Lelisi on performing in the Shortland Street musical, being a Poly in the industry, and how theatre has shaped his life. 

Recently I took part in workshopping Shortland St – the musical, for the Auckland Arts festival RAW season. The fact I would be playing four separate characters, have to learn five full musical numbers with choreography, with only eight days rehearsal for two showings to an already sold out audience, didn’t faze me in the slightest! I love this sh*t!

This year marks Shortland Streets 25 birthday and most people under the age of 30 will not know a New Zealand without Shortland St on its TV screens. The musical I would be workshopping was hoping to cash in on this familiarity and its birthday commemorations to realise a fully staged production. The fact the director of the workshop would be Simon Bennet, one of the tv series original directors and producers; encouraged not only me but the many involved, that this would be a work of merit.

It wasn’t until I got sent the sheet music to learn before rehearsals, that I stuttered and thought I should let production know that I couldn’t actually read music, and my best dancing had mostly been under strobe lighting in the club or to Prince songs in the lounge after a few purple drinks. They assured me I would be fine, and in my relief I remembered I could sing, dance and act at the same time because I had been in a stage production of the musical Hair at the St. James my first year out of high school – I got this.

I’d actually been cast in Shortland St. in my twenties.  I’d like to think it was because of my talent, but probably more the fact that one of my flatmates at the time was a writer for the show, and the other was the publicist who probably just wanted make sure I could pay the rent. Anyways...I got fired after six months into a twelve month contract because I wanted to go off and tour a play - a musical funnily enough. 

From the first day of rehearsal it was woah! Not because I was one of only two brown people in this process, that’s a norm I’d already accepted from my time on Shortland St and experiences from mainstream NZ theatre over the years, but the level of talent and skills from fellow cast blew me away. Their commitment and passion for the craft was what I was hoping to rediscover and re-ignite in myself.

It wasn’t until I found out I had to wear a gorilla costume that my carriage on this lovely ride began to rattle! But at this stage I wasn’t quite sure why it rattled me so? I was born on the rock (they come no harder) and have been in the game long enough to have faced bigger beasts. From actually being told that the timbre of the Polynesian voice wasn’t suited for Shakespeare, to being accused of stealing other artists belongings whilst they were on stage because we were the only brown artist sharing the same venue, to being nominated for best actor at the nz film awards - only to lose to a Welshman who didn’t even live under the long white cloud! 

It wasn’t until I actually walked out in this costume to a mostly palagi audience that I got the feeling I used to get back in the days when I couldn’t speak English and people were talking about you negatively. That vibe in turn opened a gateway to emotions, which brought back memories which in turn brought back the reasons why i'd fallen in love with theatre in the first place – its ability to change people! First of all it changed me. It gave me a fearlessness that enabled me to put myself in situations where most without formal qualifications wouldn’t dare. 

Theatre to me is about service, much like those whom are given titles of Chiefs or Matai. Depending on the individual, it can be used to lord over inferiors or show off, but those with the knowledge will tell you that it's actually about service to your family and community. 

From the court jesters and fools of medieval courts to the fale aitu practioners of ancient Polynesia. The theatre is a cultural space where society examines itself in a mirror. Theatre has long been looked at as a laboratory in which we can study the problems that confront society and attempt to solve those problems.

Its something i've pursued with my work in the Naked Samoans, Brotown and Siones Wedding. Its also something Shortland St has done in its 25 years. Not only has it provided a valuable training ground for myself and other young actors but it's tried to contribute to making our NZ a better place for all of us.

The showings of the musical were a great success, and I'm not surprised because we were awesome! We executed with verve and precision and I'm confident the full stage production will be picked up and staged throughout the country if not the world. I, myself probably wont be a part of that journey but in terms of original motivation for signing in the first place.

I am grateful to the cast and crew for the opportunity to re aquaint with an old flame, who although I've been guilty of neglecting of late, has not only given me a profile as an award winning writer and performer in theatre, television and film, but a purpose with life and a body of work which I’m proud of. 

Written by Shimpal Lelisi.