October 4, 2024 • 16 mins
Rena Owen has cemented herself in New Zealand’s pantheon of film and television greats.
The award-winning actress has a packed acting career, with roles in everything from Once Were Warriors, to Star Wars, to Whina, to Shortland Street.
She stars in productions that create lasting legacies, conveying stories from the culture and history of New Zealand, and her latest work follows suit.
Taki Rua Theatre – Breaking Barriers tells the story of what became the unofficial Māori theatre company, an ensemble of artists breaking barriers, shattering cultural norms, and pioneering a bicultural partnership.
Owen joined Jack Tame to discuss the significance of the theatre, her acting career, and her upcoming film roles.
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Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack team podcast
from News Talks at B.
Speaker 2 (00:13):
Award winning actress Renna Owen has cemented herself in the
very top echelons of Kiwi, TV and Film Royalty. She's
had an epic acting career with roles and everything from
Once Were Warriors to Star Wars to Fenna to Shortland Street.
Rena stars in productions that create lasting legacies and tell
important stories about New Zealand. And She's recently taken part
(00:36):
in a really interesting new documentary called Tucky Doer Breaking Barriers.
It's about the Tucky Doer Theater, a daring ensemble of
artists and activists who helped shattered not our cultural norms,
broke barriers and pioneered a bicultural partnership. And Rena Owen
is with us in Studio Calda.
Speaker 3 (00:53):
Good morning, Tenna, Quid Jack. It's great to be here.
Speaker 2 (00:57):
Thank you for having me, Thank you for being here.
It's such a joy to see you in person. For
all of our listeners who might not have heard of
it before or maybe recognized the name, tell us a
little bit about Tucky Door.
Speaker 3 (01:09):
Tucky Doer Theater was in its prime heyday was in
Wellington and it's where, for those who may not know,
I did a film call once We're Warriors thirty years
ago and this theater space, which was first called Depot Theater,
(01:31):
provided us with a space where that nurtured Maldi talent, writers, actors.
I first got involved when I was invited down by
Jim Moriarty to do the first ever theat at My season,
which was in nineteen ninety. We were going through one
hundred and fifty year celebration of Teddy t Or White
(01:55):
Tongy So and it was Maldy doing everything acting, writing, producing, directing, drama.
And I thought, oh, I've got to come and live
in Wellington because this is where theater is. As an actor,
you've got to learn your craft. And so this space
was there during that time of pivotal changes, which we
(02:18):
had a wonderful fabric of comata who were mostly women,
so I call them the founding mothers. Kiddy Cartunya Baker, Sunny,
Amy Roner, all of these women who literally most creative
artists have a space for humanity rather than politics. So
they're not afraid, they're not thinking about political things. They're thinking, hey,
(02:41):
we need to this is a season where we need
to start creating and dedicating the space to the Maldi voice,
to Maldi stories. And the following year, nineteen ninety one
is when they did the renaming ceremony of changing the
depot is what it was called to Takiua the weaving
of two. That same year, play Market published a book
(03:05):
heredair Hoe, which was five plays by Maldi playwrights. So
a lot of us came out of that stable, A
lot of us learned our craft there before Tucky Do
Though theater I was first started in New Zealand with
Don Soalwyn and Larry Padding there to Birdier series, which
is where I met Leta Mahori and Do We Are Brown?
And I had gone to drama school in London, and
(03:27):
it's a craft people. I couldn't have done what I
did with Beth Heckare without learning my craft and all
those years of theater and so Takey Doo gave us
that space to write plays. I wanted to work with
weak Cookie Car, so I wrote a play called Daddy's
Girl so I could work with Weak Cookie Car. I
drama turned, I stage managed, I directed, I produced. We
all did everything to create this vibrant theater space, and
(03:51):
it became hugely successful. We had full houses. Every show
was full, and then eventually it transformed into a company
that lost its building but went on to become a
huge commercial success, which is not easy to do in
the world of theater. It's not a lot of money
in theater. You do it for love.
Speaker 2 (04:11):
Commercial success in theater often in the same time.
Speaker 3 (04:14):
No, they're not. I waited tables, I cleaned toilets. I
did all those jobs that other actors do to pay
the bills while I was doing my passion. But it's
where I learned my craft. I also futting not or Noddle,
which is a big part of the documentary, took you
to a breaking barriers when it all my handed over
the reins for me to play the role of Ruby.
(04:38):
That is still to this date one of the best
pieces of theater I have ever worked on. And it
links into Once Were Warriors because we toured Futting a
nod of Wellington to Auckland into the Adelade Theater Festival,
and I had heard that Communicado had the rights for
Once Were Warriors, and having read the book, I knew
(04:59):
that that was going to be a role to die
for which I literally did, but I actually had the
audacity of my youth throwing them up. Ah, Kilder, my
name's Renna Owen, and I'm in this play called not
or Not All when I'm playing Ruby, and Ruby's a
character that's a lot like Beth heickeett. I would love
look if I bought you tickets, would you come and
see the play and see my work? And Ross Jennings,
(05:21):
who was a partner of their communicator, he came, wow,
and he said, yeah, you'd be really good for me. Well,
I had tod the an audition the following year, but
that was part of it, that was absolutely part of
the process. But a year before then was actually my
first encounter was with Alan duff in the Book and
Dylan's Bookstore. Because they knew our co op Tucky to
(05:43):
a co op did Malori acting Malori directing, they asked
me if i'd present a reading of his second novel,
One Night Out Out Stealing, and so I did, and
my Malori actor didn't show up, so I ended up
having to read this extract and Allen thought the whole
idea of this presentation was a bit ardie fardi. But
(06:04):
once I started to read. He turned around and he
watched it and he listened, and he came up and
he said to me, he said, how did you do that?
You read it? You read it exactly the way I
wrote it. How did you do that? And I said,
I'm an actor And he said, have you ever read
my book? Once? We're worried because you'd make a great Beth.
And he got a copy of the publisher and he
signed in it to Renna, maybe my best I hope.
(06:26):
So so that started then, yes, and then with Futu
nudd or noddle. Thanks to me working at Takida and
taky do you employed us? Okay, we may not have
made the big bucks, but it gave us work. And
when you're growing and learning as a writer or an
actor or a director or a dramatri, you've got to do it.
(06:46):
It's like any craft. The more you do it, the
better you get. And I highly recommend theater to young
actors because it's not so much about vanity or ego
or having your photo on a magazine or being famous.
It's about craft. It's about the one oh ones of
what this industry is all about, which has been a
storyteller and been able to tell a story and drawing
(07:10):
an audience and then touching their minds, their hearts and
telling a.
Speaker 2 (07:14):
Story thirty years Yes, Once We're Warriors. How do you
reflect on that?
Speaker 3 (07:21):
Ah, it's kind of yeahs you go wow. Thirty years
it went golf, Yes, it went fast. And a couple
of things have happened this year. One Timothy has done
a re release of the actual vinyl the soundtrack for
(07:42):
Once We're Warriors, and it's pretty damn cool, and it's
it's just brilliant that he's doing it because we've gone
back to vinyl. Also too, Once We're Warriors has been
on it at the Hawaii International Film Festival next week,
tim is going to be over there. I can't make
it because I'm working on Moana and so I've got
(08:03):
to go back to Atlanta, Georgia. But for anyone who's
still interested in Vining, all the oldies and the newbies
are flying out Records dot com sorry, dot co, dot
NZ re releasing the Ones We're Warriors soundtrack at the
end of October. And this documentary, which I'm a small
(08:23):
part of, comes out later this year in November. And
you know, Fetu's done a wonderful job because it's I'm
working on a work in progress, a documentary about Once
We're Warriors, and the whole theme being more than the movie?
What does it take to make more than the movie?
(08:45):
And it's very hard to choose when you've got so
much material and resources to choose from. What do you pick?
What do you include to tell your story? And she's
done a great job of bringing in the old and
some of the old footage and definitely honoring our co
mart Her who will all co mar to us young
people back then still are sunny. Amy's still kicking well
(09:08):
into her nineties. And then she's touched on a lot
of the things that happened in that seminal period and
touched on a lot of the new actors and re enacting,
you know, scenes from plays that were incredibly successful, like Fat,
like Tehooking Note which was there we are Brown Ewan Brown.
(09:30):
Our relationship started, you know TV for Air to Bird
Air for TV one and then at Take Do and
then we all ended up working on Warriors. And so
it's it's like Taki doua, the weaving of two threads.
You know, all these threads come together and one thing
It's really hit home this year, thirty years because I
(09:51):
do have the privilege of being Grandma Tala in Muana
the live action film. I've had so many of our
extras and our principal dancers. Everyone has to be Polynesian,
and some of them live in America, some of them
came off the Islands. We've got Hawaiians, we've got Tongans,
We've got sur Morns, we've got just everyone a great representation,
(10:14):
and so many of them have come up to me
and said, thank you. I wouldn't be here today if
it wasn't for once. We're warriors, you know, or thank
you for paving the way, or thank you for opening
the door, because you know, Jack for my life. As
a creative kid growing up, I had a vivid imagination.
(10:36):
I was overly emotional. I was first published when I
was eight in a poetry contest. I was in the
Kappa Huka group. I found my place on the stage
in Bay of Islands High School musicals, and I knew,
as Adrangitahi as a young person, that this was my
place in the world. I couldn't be an actor at
the end of the seventies because I had no role
(10:57):
models and as a woman, my care options were a secretary, teacher,
a nurse. So I trained as a nurse and you know,
but and qualified and but got back into acting because
that's what was in my heart, that was my passion.
So to now be a role model for all of
those And there is an incredibly extraordinary amount of Polynesian
(11:18):
talent here in New Zealand and then the South Pacific.
And what we have going for us as a nation
is this is the largest Polynesian city in the world.
It's our most unique. Our Polynesian heritage, our cultures is
what makes our country unique and different. So let's that's celebrate.
Speaker 2 (11:40):
Yeah, I just feel like there's you were speaking about
threads right, and I feel like you can step it
out right. You can go from taky Tou through to
once More Warriors all the way through to Muana today.
There is a consistent line there. Yes, And like you
think about the last four decades, say that is an
(12:00):
amazing progression, don't you.
Speaker 3 (12:03):
Think it's an incredible progress? And it's it's it's like
a fucker, Poppa. It is all what I need to
this moment in time, and all of us working on Mowana,
we have no doubts that we've all been called to
this moment in time, because this is huge. It's going
to be the biggest Polynesian film in the world, and
(12:26):
we've all risen to it. And as I shared with
our young cast and crew, you know, there's a great
multi fucker toky, which means I'm not the strength of one,
but I'm the strength of many. So with me comes
all my tupuna kality, my father, my friends, Taki Doua,
all my mentors who everybody who invested in me to
(12:48):
become the actor that I am today. I stand there
with all of them. So we are a big part
of this fabric, and I have enormous confidence in our Angai.
Our future generations watch out because they're growing up with
things that the likes of my generation didn't have access to.
(13:09):
You know, they're also growing up, you know, with the
stories of Once Were Warriors that are now all out
of the wardrobes. Thank goodness, because these are all issues,
which is where the documentary I'm going to make about
Once We're Warriors is still relevant, is that all of
the things that were portrayed in this film are still
happening today. We lost too Maldi children this year, to violence,
(13:34):
you know, these things, sexual abuse, these issues are still happening.
And that's the privilege of being an artist, as you
get to try your best to represent a slice of humanity.
And I knew this film right back when I read
the book. I thought, wow, because my generation and generations
(13:54):
before me, my mother's are other generations, they didn't have
domestic violence outreaches to go to. They suffered in silence
till death. Do you apart? You know. So it's a
profound privilege to be a storyteller. I am indebted to
Anne Mitchell in London, and the Actors' Institute in London,
(14:17):
and here to Don Sour and Larry Parr, to the
Air to Beard Air series two, Tucky Doer, because these
became my stables. They were the place where I, you know,
I found my place. I belonged because growing up I
was one of those little, skinny little kids, vulnerable kids
who was different and unusual, and I got beaten and
(14:40):
bullied because I think a lot of our creatives and
our hyper sensitive children, we're easy targets for bullies, you know.
So just the only thing I'd like to leave with
our young listeners is. You can't be what you're not.
You've got to be what you're born to be. And
so I'm thankfully thanks to people like Tucki institutions like
(15:02):
Tukey Doer who was still doing it by the ways,
they're still doing the outreach work in schools and communities
and giving Maldy and Polynesians and Parkia everyone opportunities to
come and be a part of theater. It's where we began,
It's where Moldy them is. Marai is our theater. We
come out, we come out what's our first language, Jack,
(15:24):
We come out screaming and crying. And here's the irony.
Me being so emotional as a kid was not easy
on my mother or some of my brothers and sisters.
But the irony is is now I get paid tomorright.
Speaker 2 (15:38):
It is such a pleasure to speak, honestly, we could
go all day. Congratulations on Muana, which you're about to
leave too, but also thank you so much for the
story that you have helped to tell with tuky Dour
as well. It's so good to see you.
Speaker 3 (15:51):
Thank you, Jack, and thank you for having me hockey.
Speaker 2 (15:54):
That is Rena Owen tuky Dor is going to be
released in November. We'll have all of the details on
the news talks.
Speaker 1 (16:00):
He'd be website for more from Saturday Morning with Jack Tame.
Listen live to news Talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio
You're listening to the Saturday Morning with Jack team podcast
from News Talks at B.
Speaker 2 (00:13):
Award winning actress Renna Owen has cemented herself in the
very top echelons of Kiwi, TV and Film Royalty. She's
had an epic acting career with roles and everything from
Once Were Warriors to Star Wars to Fenna to Shortland Street.
Rena stars in productions that create lasting legacies and tell
important stories about New Zealand. And She's recently taken part
(00:36):
in a really interesting new documentary called Tucky Doer Breaking Barriers.
It's about the Tucky Doer Theater, a daring ensemble of
artists and activists who helped shattered not our cultural norms,
broke barriers and pioneered a bicultural partnership. And Rena Owen
is with us in Studio Calda.
Speaker 3 (00:53):
Good morning, Tenna, Quid Jack. It's great to be here.
Speaker 2 (00:57):
Thank you for having me, Thank you for being here.
It's such a joy to see you in person. For
all of our listeners who might not have heard of
it before or maybe recognized the name, tell us a
little bit about Tucky Door.
Speaker 3 (01:09):
Tucky Doer Theater was in its prime heyday was in
Wellington and it's where, for those who may not know,
I did a film call once We're Warriors thirty years
ago and this theater space, which was first called Depot Theater,
(01:31):
provided us with a space where that nurtured Maldi talent, writers, actors.
I first got involved when I was invited down by
Jim Moriarty to do the first ever theat at My season,
which was in nineteen ninety. We were going through one
hundred and fifty year celebration of Teddy t Or White
(01:55):
Tongy So and it was Maldy doing everything acting, writing, producing, directing, drama.
And I thought, oh, I've got to come and live
in Wellington because this is where theater is. As an actor,
you've got to learn your craft. And so this space
was there during that time of pivotal changes, which we
(02:18):
had a wonderful fabric of comata who were mostly women,
so I call them the founding mothers. Kiddy Cartunya Baker, Sunny,
Amy Roner, all of these women who literally most creative
artists have a space for humanity rather than politics. So
they're not afraid, they're not thinking about political things. They're thinking, hey,
(02:41):
we need to this is a season where we need
to start creating and dedicating the space to the Maldi voice,
to Maldi stories. And the following year, nineteen ninety one
is when they did the renaming ceremony of changing the
depot is what it was called to Takiua the weaving
of two. That same year, play Market published a book
(03:05):
heredair Hoe, which was five plays by Maldi playwrights. So
a lot of us came out of that stable, A
lot of us learned our craft there before Tucky Do
Though theater I was first started in New Zealand with
Don Soalwyn and Larry Padding there to Birdier series, which
is where I met Leta Mahori and Do We Are Brown?
And I had gone to drama school in London, and
(03:27):
it's a craft people. I couldn't have done what I
did with Beth Heckare without learning my craft and all
those years of theater and so Takey Doo gave us
that space to write plays. I wanted to work with
weak Cookie Car, so I wrote a play called Daddy's
Girl so I could work with Weak Cookie Car. I
drama turned, I stage managed, I directed, I produced. We
all did everything to create this vibrant theater space, and
(03:51):
it became hugely successful. We had full houses. Every show
was full, and then eventually it transformed into a company
that lost its building but went on to become a
huge commercial success, which is not easy to do in
the world of theater. It's not a lot of money
in theater. You do it for love.
Speaker 2 (04:11):
Commercial success in theater often in the same time.
Speaker 3 (04:14):
No, they're not. I waited tables, I cleaned toilets. I
did all those jobs that other actors do to pay
the bills while I was doing my passion. But it's
where I learned my craft. I also futting not or Noddle,
which is a big part of the documentary, took you
to a breaking barriers when it all my handed over
the reins for me to play the role of Ruby.
(04:38):
That is still to this date one of the best
pieces of theater I have ever worked on. And it
links into Once Were Warriors because we toured Futting a
nod of Wellington to Auckland into the Adelade Theater Festival,
and I had heard that Communicado had the rights for
Once Were Warriors, and having read the book, I knew
(04:59):
that that was going to be a role to die
for which I literally did, but I actually had the
audacity of my youth throwing them up. Ah, Kilder, my
name's Renna Owen, and I'm in this play called not
or Not All when I'm playing Ruby, and Ruby's a
character that's a lot like Beth heickeett. I would love
look if I bought you tickets, would you come and
see the play and see my work? And Ross Jennings,
(05:21):
who was a partner of their communicator, he came, wow,
and he said, yeah, you'd be really good for me. Well,
I had tod the an audition the following year, but
that was part of it, that was absolutely part of
the process. But a year before then was actually my
first encounter was with Alan duff in the Book and
Dylan's Bookstore. Because they knew our co op Tucky to
(05:43):
a co op did Malori acting Malori directing, they asked
me if i'd present a reading of his second novel,
One Night Out Out Stealing, and so I did, and
my Malori actor didn't show up, so I ended up
having to read this extract and Allen thought the whole
idea of this presentation was a bit ardie fardi. But
(06:04):
once I started to read. He turned around and he
watched it and he listened, and he came up and
he said to me, he said, how did you do that?
You read it? You read it exactly the way I
wrote it. How did you do that? And I said,
I'm an actor And he said, have you ever read
my book? Once? We're worried because you'd make a great Beth.
And he got a copy of the publisher and he
signed in it to Renna, maybe my best I hope.
(06:26):
So so that started then, yes, and then with Futu
nudd or noddle. Thanks to me working at Takida and
taky do you employed us? Okay, we may not have
made the big bucks, but it gave us work. And
when you're growing and learning as a writer or an
actor or a director or a dramatri, you've got to do it.
(06:46):
It's like any craft. The more you do it, the
better you get. And I highly recommend theater to young
actors because it's not so much about vanity or ego
or having your photo on a magazine or being famous.
It's about craft. It's about the one oh ones of
what this industry is all about, which has been a
storyteller and been able to tell a story and drawing
(07:10):
an audience and then touching their minds, their hearts and
telling a.
Speaker 2 (07:14):
Story thirty years Yes, Once We're Warriors. How do you
reflect on that?
Speaker 3 (07:21):
Ah, it's kind of yeahs you go wow. Thirty years
it went golf, Yes, it went fast. And a couple
of things have happened this year. One Timothy has done
a re release of the actual vinyl the soundtrack for
(07:42):
Once We're Warriors, and it's pretty damn cool, and it's
it's just brilliant that he's doing it because we've gone
back to vinyl. Also too, Once We're Warriors has been
on it at the Hawaii International Film Festival next week,
tim is going to be over there. I can't make
it because I'm working on Moana and so I've got
(08:03):
to go back to Atlanta, Georgia. But for anyone who's
still interested in Vining, all the oldies and the newbies
are flying out Records dot com sorry, dot co, dot
NZ re releasing the Ones We're Warriors soundtrack at the
end of October. And this documentary, which I'm a small
(08:23):
part of, comes out later this year in November. And
you know, Fetu's done a wonderful job because it's I'm
working on a work in progress, a documentary about Once
We're Warriors, and the whole theme being more than the movie?
What does it take to make more than the movie?
(08:45):
And it's very hard to choose when you've got so
much material and resources to choose from. What do you pick?
What do you include to tell your story? And she's
done a great job of bringing in the old and
some of the old footage and definitely honoring our co
mart Her who will all co mar to us young
people back then still are sunny. Amy's still kicking well
(09:08):
into her nineties. And then she's touched on a lot
of the things that happened in that seminal period and
touched on a lot of the new actors and re enacting,
you know, scenes from plays that were incredibly successful, like Fat,
like Tehooking Note which was there we are Brown Ewan Brown.
(09:30):
Our relationship started, you know TV for Air to Bird
Air for TV one and then at Take Do and
then we all ended up working on Warriors. And so
it's it's like Taki doua, the weaving of two threads.
You know, all these threads come together and one thing
It's really hit home this year, thirty years because I
(09:51):
do have the privilege of being Grandma Tala in Muana
the live action film. I've had so many of our
extras and our principal dancers. Everyone has to be Polynesian,
and some of them live in America, some of them
came off the Islands. We've got Hawaiians, we've got Tongans,
We've got sur Morns, we've got just everyone a great representation,
(10:14):
and so many of them have come up to me
and said, thank you. I wouldn't be here today if
it wasn't for once. We're warriors, you know, or thank
you for paving the way, or thank you for opening
the door, because you know, Jack for my life. As
a creative kid growing up, I had a vivid imagination.
(10:36):
I was overly emotional. I was first published when I
was eight in a poetry contest. I was in the
Kappa Huka group. I found my place on the stage
in Bay of Islands High School musicals, and I knew,
as Adrangitahi as a young person, that this was my
place in the world. I couldn't be an actor at
the end of the seventies because I had no role
(10:57):
models and as a woman, my care options were a secretary, teacher,
a nurse. So I trained as a nurse and you know,
but and qualified and but got back into acting because
that's what was in my heart, that was my passion.
So to now be a role model for all of
those And there is an incredibly extraordinary amount of Polynesian
(11:18):
talent here in New Zealand and then the South Pacific.
And what we have going for us as a nation
is this is the largest Polynesian city in the world.
It's our most unique. Our Polynesian heritage, our cultures is
what makes our country unique and different. So let's that's celebrate.
Speaker 2 (11:40):
Yeah, I just feel like there's you were speaking about
threads right, and I feel like you can step it
out right. You can go from taky Tou through to
once More Warriors all the way through to Muana today.
There is a consistent line there. Yes, And like you
think about the last four decades, say that is an
(12:00):
amazing progression, don't you.
Speaker 3 (12:03):
Think it's an incredible progress? And it's it's it's like
a fucker, Poppa. It is all what I need to
this moment in time, and all of us working on Mowana,
we have no doubts that we've all been called to
this moment in time, because this is huge. It's going
to be the biggest Polynesian film in the world, and
(12:26):
we've all risen to it. And as I shared with
our young cast and crew, you know, there's a great
multi fucker toky, which means I'm not the strength of one,
but I'm the strength of many. So with me comes
all my tupuna kality, my father, my friends, Taki Doua,
all my mentors who everybody who invested in me to
(12:48):
become the actor that I am today. I stand there
with all of them. So we are a big part
of this fabric, and I have enormous confidence in our Angai.
Our future generations watch out because they're growing up with
things that the likes of my generation didn't have access to.
(13:09):
You know, they're also growing up, you know, with the
stories of Once Were Warriors that are now all out
of the wardrobes. Thank goodness, because these are all issues,
which is where the documentary I'm going to make about
Once We're Warriors is still relevant, is that all of
the things that were portrayed in this film are still
happening today. We lost too Maldi children this year, to violence,
(13:34):
you know, these things, sexual abuse, these issues are still happening.
And that's the privilege of being an artist, as you
get to try your best to represent a slice of humanity.
And I knew this film right back when I read
the book. I thought, wow, because my generation and generations
(13:54):
before me, my mother's are other generations, they didn't have
domestic violence outreaches to go to. They suffered in silence
till death. Do you apart? You know. So it's a
profound privilege to be a storyteller. I am indebted to
Anne Mitchell in London, and the Actors' Institute in London,
(14:17):
and here to Don Sour and Larry Parr, to the
Air to Beard Air series two, Tucky Doer, because these
became my stables. They were the place where I, you know,
I found my place. I belonged because growing up I
was one of those little, skinny little kids, vulnerable kids
who was different and unusual, and I got beaten and
(14:40):
bullied because I think a lot of our creatives and
our hyper sensitive children, we're easy targets for bullies, you know.
So just the only thing I'd like to leave with
our young listeners is. You can't be what you're not.
You've got to be what you're born to be. And
so I'm thankfully thanks to people like Tucki institutions like
(15:02):
Tukey Doer who was still doing it by the ways,
they're still doing the outreach work in schools and communities
and giving Maldy and Polynesians and Parkia everyone opportunities to
come and be a part of theater. It's where we began,
It's where Moldy them is. Marai is our theater. We
come out, we come out what's our first language, Jack,
(15:24):
We come out screaming and crying. And here's the irony.
Me being so emotional as a kid was not easy
on my mother or some of my brothers and sisters.
But the irony is is now I get paid tomorright.
Speaker 2 (15:38):
It is such a pleasure to speak, honestly, we could
go all day. Congratulations on Muana, which you're about to
leave too, but also thank you so much for the
story that you have helped to tell with tuky Dour
as well. It's so good to see you.
Speaker 3 (15:51):
Thank you, Jack, and thank you for having me hockey.
Speaker 2 (15:54):
That is Rena Owen tuky Dor is going to be
released in November. We'll have all of the details on
the news talks.
Speaker 1 (16:00):
He'd be website for more from Saturday Morning with Jack Tame.
Listen live to news Talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio
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