Abstract
Through an analysis of Vilsoni Hereniko and Teresia Teaiwa’s Last Virgin in Paradise and Oscar Kightley and Simon Small’s Fresh Off the Boat, this article looks at the subversion of Pacific stereotypes prevalent in popular representations. I employ Christopher Balme’s notion of “performance genealogies” to show how the performative nature of cross-cultural encounters which determined colonial representations of Pacific peoples is employed in postcolonial theatre to condemn the pervasiveness of those images, subverting them through strategies of citation and reciprocity.