ANITO: visceral perfection
For two more nights only, Auckland can witness the thrilling rawness of this queer indigenous work.
I had the privilege of attending opening night of ANITO at Q Theatre in Auckland. The audience was swept up in the primeval grandeur of this incredible work, and gave it a well-deserved standing ovation.
ANITO is a theatrical experience that defies definition. It is the perfection of movement, costume, puppetry, lighting, and sound – coming together to produce something exquisite, extraordinary, and altogether impeccable.
From the ancient spirituality of the Philippines, to the lands and waters of the Gadigal people (known today as Sydney), to the mana whenua of Tāmaki Makaurau, this precious Auckland Pride performance connects indigenous and queer experiences across the Asia-Pacific. This Auckland season celebrates the deep bond between ancient Māori and Philippine knowledge systems through their shared origins in the unseen prehistory of Austronesia.
ANITO speaks to the interconnectedness of all things. We see the beauty of life, love, and symbiosis. We see balance and the cycles of nature. But the show is also influenced by the imbalance of ravaging colonisation.
The stage begins in near-darkness: an alien-feeling landscape with roots twisted along the ground, evoking (under some lights) a contorted sea of human limbs. This landscape will evolve over the course of the performance in all sorts of unexpected and fascinating ways. A wordless voice sings out – impressively in tune with the soundscape it pre-empts – perhaps in an act of creation or summoning.
Before our eyes, giants emerge and endlessly transform. Everything is unbelievably larger than life. I highly recommend reserving a seat near the front, where the illusion of sheer scale is incredible.
The performers' commitment to movement is exceptional. They inhabit one inhuman physicality after another, each for an impressively long time, creating a magical microcosm of epic proportions. You can feel intense emotions between the beings they portray. A particular joy comes from the audience never quite knowing just how many performers there are.
The production doesn't hide the fact that humans are at the heart of the puppetry. The result is compelling and captivating.
ANITO is a masterclass in lighting – showing what you can achieve using only a single light to striking effect. But also what you can achieve when you use 100 lights. The lighting deftly flitters between restraint, teasing, and an all-out assault of the senses.
Forget the movies; you haven't experienced surround sound until you've come to see ANITO. The soundscape is expertly crafted. At times it rages with an intense bass. At times, delicate sounds flutter from a thousand directions. The sound perfectly creates a primordial world that is at once both familiar and foreign.
ANITO blurs the boundary between costume, props, and set design. Everything is beautiful and intricate. My mind boggles at the work that went into creating this world that is more fluid and impermanent than it seems.
ANITO is a work that exists outside time – an hour of escape from the relentless chaos of our modern world. The show gives itself room to breathe, guiding you on a satisfying journey of wonder. I highly recommend coming to experience ANITO before it is gone. I just wish I could share the experience with all my friends in Christchurch!
ANITO has two remaining performances on 13 and 14 February 2026 at 7:30pm. Tickets are selling fast. For more information, see ANITO on the Q Theatre website. If ticket prices are a barrier, you can message Auckland Pride, as this special production deserves to be appreciated by all.
