Review: GENUINE AND STABLE at Herald Theatre, Aotea Centre

Imagine the situation. You’re in love. You are asked to defend your present relationship as one that could endure. Could you be supremely confident that nothing could shake its foundations?  If asked by authorities, what proof would youneed? How easy is it to truly have an open mind? Do we make assumptions?

Deftly focused by first time director Marianne Infante, this is the first script of playwright, Uhyoung Choi. Set in contemporary NZ 2025, it has been developed with mentors such as Ari Karunaharan and consummately crafted with support from Creative New Zealand, Foundation North, ATC and Auckland Live.  Determination and self-belief were key. The result: compelling characters, innovative staging and realistic dialogue. The powerful and thought-provoking storyline pivots around the application for a partnership visa. In order to stay in NZ, Korean-born Sujin (Junghwi Jo) and Jeremy Mackenzie  (Jono Capel-baker) have to convince the immigration lawyers  Laura and Charlotte (Natasha Daniel, Acushla-Tara Kupe/Gabriela Chauca) that their relationship is “genuine and stable”.

Running as a parallel plot, is the crumbling, less than stable relationship of Laura, and her husband.  The play resonates with authenticity. For many NZ Europeans, it provides a valuable insight into what must be painful, unsettling and invasive on a personal level. We need to see stories such as these and hear the voice of those who are struggling to be heard. A fair process helps a fair outcome.

The staging design is innovative and ingenious.  The set (Chye-Ling Huang) is simply conceived, with mobile desks and shelves. Through the sophisticated use of AV material (Darryl Chin), sound  (Paige Pomana) and lighting (Rae Longshaw-Park) and detailed mime, the audience is drawn into the various environments. We can readily imagine the computers, the coffee machine, the bar, the coffee shop, the flats and apartments. Movement is slick, motivated and purposeful. The transitions between scenes is quick ensuring the scenes fold into each other seamlessly.

Initially a love story, the tension develops through the process of gathering that required proof. As the lawyers examine the proof, the audience is beginning to draw its own conclusions. When Sujin wants public recognition of the relationship, and asks Jeremy to FB publish photos of them, to open a joint bank account, to ask his parents to endorse their application, the tension starts to build. Sujin says she doesn’t want to be a burden, that she wants their relationship to be interdependent. Doubt seeps in when Jeremy purchases a property for them both, but Sujin finds she is not listed as an owner if the relationship fails. Sujin is distraught. Becoming apparent is the reason for he motif of the office plant being made stronger by being shaken .

When finally taken into the immigration office for questioning, Sujin must justify why she didn’t accept a work visa when offered a suitable job. She is adamant that her reasons were honourable. She didn’t want to be trapped, wanted  to do it alone without judgement and without prejudice. Her words ring with truth. Love , she says, isn’t about being certain. It’s a choice. A partnership will be genuine and stable because you make the choice to make it so. It's just right. 

Several years in the making, this is a polished and honed script perfectly executed with flair. This is like watching a slice of life, a slice built with care, persistence and artistry.  It should be seen by all New Zealanders – there’s a truth to be recognized, respected and heard.