Samoan actor Tuiasau Uelese Petaia is part of the cast of the play "O Tusitala Tellers of Tales" produced by Tise Saliga Fauolo and directed by Sia Figiel. In the interview below with Vanya Taule'alo, he talks about his character in the play, which is scheduled to premiere on Tuesday 30 May, and Wednesday 7 June at the Blue Wave Theatre, Vaivase Uta.

VT. What were your thoughts when Sia offered you the parts in her play O Tusitala? 

TUP. It was quite daunting initially and I could just see the challenges I was being given. I tried to get out of it twice. This is a different job, usually, you are just one character, and you know the character and it’s precise and clear. Some of these characters are quite short. Even looking at old photographs of these people you can try and get some idea of what the character was, and their different personalities, and genders. But at my age trying to do a thirteen-year-old; it’s quite challenging. You really have to dig deep to remember what you were like at the time. 

Females are hard and the challenge is the changing of voices. Some women have high voices, and some have low voices. Most of the women are American so you have to get the voice and the accent right. Again, the faafafaine was very young. I have to observe them and look at their mannerisms. I rely on Sia for my research. Sia has done all this background work as there is so much research, I think she’s done a great great job. 

VT. Do you have a favourite character in the play? 

TUP. I think Pulu is my favourite he is the faafafine and he is the biggest challenge, he will probably be the best job on the night. All the characters have characteristics that endear them to you. The character Lafaele who looks after the livestock is afraid of the aitu and how this woman controls his way of thinking. He’s quiet, and he’s talking about the skulls Stevenson finds under a tree. Lafaele thinks RLS does not have respect for these skulls, and he is scared the aitu woman will come and strike him dead. 

VT. How does Sia as Writer and  Director work with you to get the best out of each character? 

TUP. She drives you crazy, it’s good as she knows the play backward, she knows the characters, and she’s lived with them for more than four years, so you have to rely on her research. You also have to realise that some are not actually factual, it's poetic license and you have to get the flow in what’s she trying to tell you. Sia works with you she’ll be tough, and demanding, but also quite emotional in what she sees and what she hears. But what she gives you supports what you are trying to do. 

Each director has their own way, they say here’s your character arch go ahead and do it. But we don’t have the luxury like that because there are so many characters, and we are only in our second week of rehearsals. So, to sit down and try and do that you have to trust your feelings. 

Sia has the ability to write clearly and succinctly what went on at that time. Things that many of us have never thought about before. We’ve always known the story of Stevenson the writer. At first, I thought it would be quite harsh, and yet they all have a soft spot in their hearts for Stevenson and the family. But they all have different reasons for being at Vailima. 

VT. How do you move from one character to the next?

TUP. There is singing and blackouts in between the different characters, other times there are instant transitions, from male to female and it’s quite challenging. I have done so many plays, films, and television work where you have time to get into one character. The characters are very clear in who they are. In O Tusitala dealing with the instantaneous transitions, it is something you really have to work on. The most challenging aspect of it is these 18 people who are all fighting for space in your head. You have to control them and say wait you are next! 

You have an idea of the characters; you now have to morph them into something more solid. 

You try and force yourself as they are fighting to get out, so you need to rest.  Sometimes you are unconsciously thinking about them all the time. I have never done this before. These guys may only have a couple of pages to tell you who they are, but they are always going to hang around. 

If you used 18 different actors, it would be confusing for the audience. To make the distinctions you say who the character is at the beginning, and in some of the different transitions you rely on your accent and gender and mannerisms. 

VT. The set and costumes are minimal so that makes you the entire focus of the audience, how does that feel as you cannot hide anything?

TUP. Ideally, it would help the actor if he had different changes but it’s going to be so time-consuming with 18 characters – so you think of props, using a hat or boots, and how is it going to work. They must be minimal, and we haven’t exactly decided how we do it.

 VT. What would you like the audience to take away with them after the play is finished?

TUP. I quite like what Stevenson says at the end he is telling people to work the land or otherwise someone else will take it. 

• Sia Figiel grew up in Matautu Tai, on the island of Upolu, in Samoa. Her father was Polish -American and her mother Samoan. Sia grew up surrounded by fagogo (legends and proverbs) and faleaitu. These stories dwelled deeply in her psyche, and she carries them close to her heart as they are a constant source of artistic inspiration and connects her closely to her culture. Sia is a novelist, performance poet, and playwright. This year Sia will travel to the Edinburgh Fringe Festival where she will perform her play O Tusitala; Teller of Tales. Tuiasau Uelese Petaia is a Samoan actor and is considered one of the early pioneers of Samoans in the film industry. Known for his role as ‘Sione’ in the movie adaption of the Albert Wendt novel ‘Sons for the Return Home’, Tuiasau’s work paved the way for aspiring Samoan actors to transition easily into the industry. Dr. Vanya Taule'alo has lived over 40 years in Samoa where she is an artist, and educator, and has written widely on Samoan and Pacific art.