Review: RATION THE QUEEN’S VEGES by Te Pou Theatre

A Bold, Unflinching Piece of Agitprop Theatre

Ration the Queen’s Veges is a compelling one-man play produced by Te Pou Theatre, inspired by real events from December 2023. It dramatizes the story of Te Wehi Heketoro Ratana, an activist who abseiled into Te Papa Tongarewa and defaced the English version of the Treaty of Waitangi exhibition using black spray paint and an angle grinder.

This production doesn’t aim to entertain in the traditional sense. Instead, it leans into the tradition of Agitprop theatre—designed to unsettle, provoke, and inspire. It explores themes of protest, defiance, and the systemic impact on incarcerated Māori and Pasifika men.

From the moment Ngahiriwa Rauhina steps on stage, he is instantly engaging. With a relaxed presence, a cheeky smile, and impeccable comic timing, he brings unexpected humour to a play rooted in serious subject matter. The scene depicting the actual defacing of the Treaty is particularly memorable—Te Wehi Ratana, mid-abseil, banters hilariously with a police officer trying to coax him down. It’s a moment of levity that cleverly underscores the absurdity and tension of the situation.

Ngahiriwa’s performance is the standout of the production. He seamlessly shifts between a multitude of characters, each distinct through voice, posture, or gesture. His versatility alone makes the play worth seeing.

Roy Iro also plays a vital role, contributing numerous offstage voices and serving as the Stage Manager. His presence, though less visible, adds depth and texture to the world of the play.

The staging is minimal but effective. Lighting is used with precision, and audiovisual elements are employed sparingly but powerfully—never overwhelming the performance, only enhancing it.

The play’s message is clear and resonant. However, a deeper exploration of the reasons behind the protest—specifically, the differences between the English and Māori versions of Te Tiriti—would have added valuable context. That said, the production assumes a certain level of audience familiarity, and perhaps rightly so.

Ultimately, this isn’t a lecture—it’s informed, provocative theatre. And in that, it succeeds.

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