August 09, 2021Reviews

REVIEW: Fala Muncher

If you’re looking for something to spice up your week then look no further as Fala Muncher will do exactly that—a series of solo monologues that will not only leave your heart in a twist but your panties too. 

Returning to Basement Theatre after a critically-acclaimed debut season in 2018, Fala Muncher is back to share the epic stories that highlight the intersection of Pasifika and Queer identities. The talented creators and performers, Lyncia Muller, Jaycee Tanuvasa and Disciple Pati bring true stories to life, exploring themes of gender and sexuality as they unravel what it means to be Queer in the Pacific LGBTQIA+ communities. 

Fala Muncher is a derogatory term, which refers to the act of a female of Pacific descent partaking in the licking of another woman’s Fala.


Told through theatre, poetry and dance, each monologue is unique, but shares the same purpose—to educate and inform, whilst adding some humour to the mix. The humour could be seen as symbolic, as a coping mechanism for hiding feelings and to represent the mask that is worn to hide true identity. Nevertheless, Fala Muncher is saucy, heart-felt and down right hilarious! 

Created by performing sensation Lyncia Muller (Auckland Live’s 2021 Cabaret Season breakout star), who is passionate about putting Queer identity under the microscope, and in collaboration with mother of voguing house of IMAN, Jaycee Tanuvasa and R&B musician Disciple Pati—the trio come together to challenge social norms through their beautifully crafted work, leaving the audience questioning their own identity. 

Jaycee Tanuvasa kicks-off the evening with a seductive poem that weaves in and out of fantasy and reality. It’s sexy, powerful and really plays with your emotions. Lyncia Muller follows as she plays Billie, a beautiful Tongan woman, who explores the difficulties of being Queer whilst having strict, religious Tongan parents and the ‘coming out’ fears that unfold. Disciple Pati brings the performance to an end with her cleverly constructed rendition of the Little Red Riding Hood, which plays with the idea of femininity and female empowerment.

The stories interconnect and trigger raw emotion that explore the depth of love, feeling and passion—which is something we can all relate to.

Although there are many elements to the piece, it’s important to emphasise the crucial message hidden within, that we need to have more conversations and break the social boundaries around sexual identity, not only in the Pacific communities but also in Aotearoa. 

Fala Muncher is a cleverly constructed piece of art that empowers and connects the audience with each other, with the performers and the space and is the perfect example of what theatre can represent.