“Why do you silence me?”
A break from the old routine for the RSC here, with a play from the 13th century. Not only that, Frances Ya-Chu Cowhig’s Snow in Midsummer is an adaptation of Yuan dynasty drama The Injustice Done to Dou E by Guan Hanqing, marking a key milestone in the venerable institution’s avowed change of policy after the The Orphan of Zhao debacle in 2012. Transplanting the narrative into contemporary China, Cowhig and director Justin Audibert smash the ancient and the modern together to startling effect.
Dou Yi (Katie Leung) was a young widow executed for murder in the industrial town of New Harmony, proclaiming her innocence all the while and cursing the community in her final moments. The play starts properly three years later with her curse having come to pass, drought has devastated the area and local factories are on the brink of closure, Dou Yi’s spirit restlessly haunting them all, determinedly awaiting exoneration. A newly arrived businesswoman (Wendy Kweh) scents a takeover but as her young daughter’s dreams take a disturbing turn, she can’t help but get sucked into this world. Continue reading “Review: Snow in Midsummer, Swan”
“Welcome to Authentic China”
What kind of holidaymaker are you? The type that looks for the first place to sell you a full English breakfast or the type that cringes when you hear another English accent in the place, usually over-emphasising at a sceptical waiter. If you tend towards the latter then you might have already heard of sustainable tourism, heck, even booked a trip wanting to fully embrace the authenticity of a place rather than its tourist-stuffed facade.
Amy Ng’s Shangri-La
questions the very notion of whether its possible though – whether a form of pure cultural tourism can exist or if it is all a sham, something cooked up to relieve all-too-easily proffered wallets and purses. Until 2001, the Chinese Himalayan city of Shangri-La was known as Zhongdian, its renaming aimed to capitalise on the vogue for all things Tibetan, and Ng asks at what cost such decisions are made.
The prism for her often witty play is would-be photographer Bunny, a member of the Naxi minority ethnic group whose customs and ceremonies are buried deep in centuries-long tradition and secrecy. She’s making a living as a tour guide and when her local knowledge is called upon to give a private tour to a wealthy potential benefactor, she’s faced with the dilemma of what she’s prepared to sacrifice in the name of her individuality versus her people’s, something she has had to consider before.
Shangri-La thus plays out in two timeframes and this is something Charlotte Westenra’s production could make a little smoother. Julia Sandford’s Bunny negotiates the back-and-forth well though, caught between newly-introduced ideas of what her life could be versus the reality of what she’ll have to do gain it, and Rosie Thomson is excellent as two different women who can facilitate that change for her, gaining several laughs in the pursuit of spiritual enlightenment with an iPhone.
There’s perhaps a little too much stuffed into the narrative for it to truly breathe. The complexities of Chinese authoritarian rule are only ever hinted at, the fascinating role of corruption glanced on briefly; fortunately, the focus on shady tourism sitting cheek by cheek with exploitation and poverty is fiercely examined, our own Western complicity left in no doubt whatsoever. There’s strong support from Andrew Koji’s Karma and Kevin Shen’s Nelson, two men with very different ideas on what’s acceptable and Ng pleasingly eschews giving us any easy answers.
Running time: 75 minutes (without interval)
Photo: Scott Rylander
Booking until 6th August
“The problem with Hannes is…”
One can always rely on the Arcola to bring interesting writing to light and in the form of the VOLTA International Festival, Artistic Director Andrea Ferran has managed that four times over, bringing together new work by four celebrated international writers, translated into English for the first time – Christopher Chen, Jonas Hassen Khemiri, Ewald Palmetshofer and Roland Schimmelpfennig. With four directors, James Perkins designing and an ensemble covering all the shows, it proved to be a fascinating festival and one which deserves more attention than it received.
Caught by San Francisco-based Christopher Chen twists wonderfully around notions of truth and fiction as three separate but interlinked scenes toy with how art plays with and changes under our perceptions. Cressida Brown’s direction cleverly plays up how we all find our own truth in everything, no matter how the subject is approached, preconceived notions shaping us even as they’re deconstructed and always, always making us think about what we’ve just seen. Chen takes no prisoners in the complexity of some of his thinking but it’s fascinating stuff indeed. Continue reading “Review: VOLTA Festival 2015, Arcola”
“I’m looking for the Tank Man”
There’s a moment of genius near the end of Lucy Kirkwood’s new play Chimerica that manages that all-too-rare feat of managing to unearth something genuinely new out of the familiar, challenging the way we hold viewpoints and the assumptions that come with them. It is a startling realisation, excellently executed and one which allows for an interesting reinterpretation of what has gone before. Kirkwood’s subject is the fast-changing and complex relationship between China and the USA and sprawls ambitiously over 24 years and multiple storylines to create an unwieldy epic, co-produced with Headlong, that just might be one of the most interesting and exciting pieces of new writing in London.
At the heart of the story is Joe Schofield, a photojournalist responsible for one of the iconic images of the twentieth century in capturing the moment a protestor stood in front of a tank in Tiananmen Square, who gets the sniff of a new story when he finds out the man might be living in America. As he pursues this new lead through the nooks and crannies of Chinatown to glittering political fundraisers, his singlemindedness threatens his relationships with the friends and lovers around him, but also with his key Chinese friend and contact for whom the price to pay is significantly higher. Continue reading “Review: Chimerica, Almeida”
“Nowadays, it’s so hard to tell”
London’s newest theatre opened its doors in Finsbury Park last week but the Park Theatre also has a more intimate studio and it is the UK premiere of David Henry Hwang’s Yellow Face that christens that space. Hwang was the first Asian-American to win a Tony for Best Play and so was a predictable figurehead for the 1990 protests against the casting of Jonathan Pryce in a Eurasian role in the Broadway production of Miss Saigon and it is this that forms the starting point for his play Yellow Face which questions ideas of race and identity and whether any such thing as a multicultural society can really exist when prejudices continue to weigh in from all sides.
Hwang uses his own experiences but also weaves elements of fiction into the play – the version of himself who is the lead character is (barely) renamed DHH – to create something of a fantasia, which allows him to heighten the absurdity of many of these situations whilst simultaneously maintaining the chilling realisation that most of it is not too far from reality. It’s a heady mixture and one which frequently pays off. The trickiness of dealing with the sensitive subject of race is tackled head on and with no little humour – trite aphorisms about tolerance and looking beneath the skin are constantly rehashed and recycled, even borrowing lyrics from an En Vogue song at one point, as the difficulties of verbalising what racial identity really means and just how important it actually is are thrown under the spotlight. Continue reading “Review: Yellow Face, Park Theatre”