Owe

We don’t talk about money often enough in New Zealand. For something so critical and pervasive, conversations about money remain largely off-limits in polite company. Rightly or wrongly (usually wrongly), discussions are politicised rather than explored constructively.

It is refreshing to see Owe tackle this head on.

The script unfolds across 12 linked scenes, each carrying one character forward from the scene before. This structure allows the play to explore differing ideas of fairness around money through a series of interwoven, character-driven stories. The flexible set (Derrin Smith) and fluid staging enable swift transitions, maintaining the production’s pace, while the recurring characters create a strong sense of continuity. The result never feels episodic, a credit to Wright’s assured direction.

Despite the seriousness of the subject matter, Owe draws audience engagement through humour, encouraging reflection on what is usually the most awkward of conversations. At its core is the impact of economic insecurity on human relationships. Money becomes the language through which the characters measure love, obligation, fairness, generosity, and belonging. Even up-and-coming surgeon Steven (played by Austin Harrison) experiences his own form of economic insecurity in saving for a house purchase, echoing emotions experienced by Adria (Phoebe Caldeiro) as she is faced with an unexpected cost she cannot afford.

Serenity (Rachel McLean) and Andie (Ava O’Brien) are central in examining the tension between the transactional and emotional dimensions of relationships. Their assured performances stood out amongst a very strong ensemble cast, albeit aided by some of the most thought-provoking lines in the script. Andie in particular invites us to reflect on the duality within relationships: the transactions required to create order, separate from the underlying emotional connection that forms a deeper foundation. A relentless focus on the financials can suck the joy out of life, but enough ‘order’ is needed to create an accepted baseline. Owe recognises the truth in both positions.

There is much more to this show that I can cover here. I was left wanting more, not because the production was incomplete, but because it tackles discussions that are too often left unsaid. Squash Co. Arts Collective’s Owe plays at BATS until the 27^th of June. A must-see.