The world premier of Mate Ururoa – which comes from the whakatauki “Kaua e mate wheke, me mate ururoa” | “Do not die like an octopus, die like a hammerhead shark” – at the Hannah Playhouse, produced by Wellington Opera, offers a great evening and admirable experience. Arriving for the 7.30pm performance and surrounded by a 400 plus group of prestigious looking people from all corners of Wellington, and from as far as Rotorua and Hamilton where relatives, friends and admirers of the Dansey family have arrived as supporters, I feel a sense of history and awe relating to what is about to unfold. The programme starts with Notes From The Front composed by Ross Harris. Tenor Richard Greager’s bright, warm, clear, expressive voice speaks to the enraptured audience. Pianist Emma Sayers’ haunting, delicate melodies accentuate Greager’s huge voice range and they are accompanied by Mathew Ross’s violin with it’s expressive, luminous and resonant tones. A superb introduction to the main event. Mate Ururoa, written and composed by legend Dame Gillian Whitehead (Ngai Te Rangi – Tuhoe), is a captivating opera set against the harsh realities of war in Gallipoli (1915). Captain Roger Dansey, played by baritone David Tahere (Ngāpuhi), a wise and brave leader, in charge of the Native Contingent, defies his Commanding Officer, Lieutenant Colonel Alfred Herbert, played by Brent Allcock, to save the lives of his men. Because he refuses to send his men to be used as cannon fodder, Dansey is court martialled. This is a heroic position and speaks of the mind-set of Commanders working far away from the front lines. The opera blends traditional Māori music, haka, taonga puoro and storytelling with contemporary theatrical elements, creating a profound cultural experience. Through powerful vocals and evocative staging, Mate Ururoa celebrates identity, resilience and the enduring spirit of Māori traditions. It offers audiences an immersive journey into Māori history during WW1, Māori spirituality, leadership, fostering a new world view of Aotearoa, and appreciation and understanding of indigenous culture during a hard-fought ruthless war. Director Sara Brodie’s beautiful operatic depiction of the events are performed in reo Māori and English (with subtitles) and talented taonga pūoro practioner Ariana Tikao, and music ensemble Stroma, are conducted by Hamish McKeich. Stroma’s sucking instead of blowing their reed instruments adds a wind-blowing affect; they use stones to create haunting cadences: a powerful means of depicting the heartache Dansey goes through as a soldier trained to follow orders … This story has so many parallels to what is happening in 2025 that the similarities are scary and unfortunately prophetic. Mate Ururoa is a testament to what can happen when insanity is defeated with wisdom and courage. It’s not just a story for Māori, it’s a story for all New Zealanders and a broader story for the world. It poses the question: when at war – are you an octopus or a hammerhead shark? Copyright © in the review belongs to the reviewer