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Birds, a play by Dianna Fuemana, is a tough and endearing contemporary take on migrant youth growing up in urban Auckland.

Renee Liang chats to Scotty Cotter, well known for his work as an actor and deviser, as he makes his directorial debut.

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Birds is a contemporary Pacific story, an urban tale told through the eyes of a young Niuean boy growing up in Auckland’s Avondale Hood-Lands. Following a successful premiere season last year at Mangere Arts Centre, the play hits The Basement this week. Actors Ali Foa’i (Falemalama, Aukalofa Monologues) and Bianca Seinafo (Number 2, Big Trouble) are given a workout playing a multitude of characters.  

Renee Liang chats to Scotty about the play and his life in theatre.

Why do you make theatre?

Cause it’s fun. And you get a reaction immediately.  You can tell from the live audience if you have them or not. For me theatre is an experience.  It’s storytelling, it's a challenge to make the best work you can, and you get to use your imagination.

Writing, acting and directing - are they similar in terms of creative action, or are they quite different?

I think they all live in the same house but all have different skills and traits, but they are also quite the same in some ways. They all play their own pivotal role in creating a story and the world around it. All the skills work hand in hand with each other and you can't have one without the other, so yeah. I guess they are the similar.

What has been your journey into directing?

I have been working in the industry for the past 12 years as an actor but have also worked as an assistant director, lighting, tutor, and other jobs that come along with trying to cut it. I have been very lucky that I have amazing friends around me, who are established directors who I have watched and learnt from.  I also have had the chance through working as an actor in theatre to work with different directors and learn from working with them.  But I think my main training ground has been through my years tutoring and assisting/co-directing with Massive Company and the ensembles they run. That’s where I feel I got the chance to fine tune and learn my style of how to create work and mold the shape of a story on the floor while working with actors, which is a quite rare opportunity that I fully took advantage of.

What type of stories speak to you and why?

Stories that are intriguing, stories that take the audience on a journey, stories that are punchy and feisty, stories that have depth and warmth. Basically anything that has that little snap in it that makes me go “this is a story that should be told”.  And also stories that break a stereotype or flip a viewpoint.

What spoke to you about Birds?

What spoke to me about Birds was the main character Tommy. When I first read it, I knew exactly who Tommy was. I had met so many Tommys in my teenager years and at points I think I was Tommy – I understood him. I felt this voice should be heard again. Rarely do you hear the thoughts of a young Polynesian male growing up – it’s a voice that I feel hasn't been explored yet in theatre. And that’s a main reason why I wanted to put this on, to explore that world. And also because Birds has great characters, it’s a very smartly written play – I knew I had to jump at it.

What's it like working with the two actors?

It’s awesome. Bianca Seinafo and Ali Foa’i are smart, funny actors. And we know with only us three, we have to really push each other – which is coup. It’s gunna be a great trip.

Did you have to do much research to connect with this story of migrant youth growing up in Auckland?

Tommy’s 2nd generation so I sorta come from the same background and sorta had a grasp on what that’s like. But I think most of the intentions and issues that arise from being Polynesian are in the script.  Dianna Fuemana has placed them in quite subtly.  But they linger around and really challenge your thoughts – which is what I feel is very cool.

What are you working on next?

After this I go back on tour with The Brave to the Tauranga Arts Festival, I think you should all come.