The Weir

8 May 2013, Donmar Warehouse, London

This play won the Evening Standard, Critics’ Circle and Olivier award for Best New Play in 1997. Ashamedly, I had actually never heard of the play or the playwright Conor McPherson! The playwright is regarded as one of our greatest living young playwrights.

The play is set in a pub in an isolated town. A women walks into the pub, and the men excited by this stranger start telling stories to try and impress her. But none of them can tell a story more chilling and more realistic than the one that she tells.

It was a good play, but because I had really really high expectations – it got so many 5* reviews (argh again,the reviews!!) and awards, plus the whole run is sold out – this play fell a bit short. Anyway… but the acting, wow. A strong cast who gave pitch-perfect spontaneous-like delivery.

The text is really well written. It’s actually quite different from anything I’ve seen before. No action actually takes place… the play is all about the stories that the different characters tell. It becomes all about what they say and actually more so what they don’t say. What you read between the lines.

At the post-show Q&A, they talked about why the play is called The Weir. There actually isn’t a straight answer, but apparently Conor is very lyrical with his titling. Apparently he has this other play named St. Nicholas, where the title is not because it’s about Santa (apparently, not once is he referenced), but because the play is all about giving.

The cast could not stop raving about Conor’s plays and his writing. How he is really generous with his characters. How he is a ‘writer for actors’. Even the most minor of characters is significant and has room to explore. Need to go see more of his works! Actually this is a time when I wish I did my homework before going to see the play. Think I would’ve appreciated a lot more had I known more about the playwright and this play!

By the way, have I ever mentioned that I love the Donmar?

An Orchestral Celebration of the Films of Leslie Cheung

19 March 2013, Hong Kong Cultural Centre Concert Hall

Leslie Cheung… what an icon. I remember adoring him when I was very young (and even getting to eat dinner with him as my mum is friends with his sister!). This concert was a musical tribute to him, where the Hong Kong Philharmonic Orchestra performed music pieces from his signature films (including Wong Kai Wai’s  東邪西毒, 春光乍洩, 阿飛正傳) and at times their music would be accompanied by film clips played on the screens behind and to the sides of the orchestra.

It was a blast from the past, though I wish I had seen more of his movies. In fact I think I had only seen one of the movies they played clips from, not that it mattered – it was nostalgic and enjoyable anyway. I particularly loved the new arrangement / re-imagination of Ashes of Time. A Chinese music instrumentalist played a handful of beautifully sounding (and odd-looking) instruments, providing a rich textured score to the vast spectacular landscapes that were being shown on screen.

Sadly they didn’t play the one song we really wanted to hear – 追. The MC, when introducing the 金枝玉葉 segment even said that during his 8 year career as a shopping mall pianist, that song was the number one most requested song across. Why didn’t they play it?

One thing they could’ve improved on was harmonizing the video with the music. It was obvious that they didn’t make any effort to do so. Sometimes the video ended 5 minutes before the music, sometimes 50 seconds before. And sometimes even after. It was a bit jarring and a shame, really, as it wouldn’t have taken much more effort.

Anyway… you know that saying that when one sense weakens, another sense(s) heightens? I tried it and it was brilliant – when I watched the film, the music became softer and when I watched the musicians, the music became louder.   And even though Hong Kong Cultural Centre’s Concert Hall really isn’t good for classical music, it almost didn’t matter for this concert. We were there to celebrate Leslie Cheung. I think it’s brilliant how we’re still honouring him 10 years on.

2001: A Space Odyssey

25 June 2010, Southbank Centre’s Royal Festival Hall, London

What a way to watch one of last century’s masterpieces for the very first time.. the world premiere of 2001: A Space Odyssey to live music performed by Philharmonia Orchestra!

It was quite an experience. The dun dun dun dun dun of the opening bars of the main theme… it was so powerful, I got goosebumps. 

Playing a soundtrack live to a movie must require so much work on the conductor’s part. They have so many visual cues and have to make sure the musicians play at the perfect speed. What happens if they finish the piece before the visual element finishes? They must have some buffer music they can play… hm…   

This show was a real challenge for Southbank Centre. They weren’t able to find a copy of the movie file where the music was separated from the soundtrack (everything was recorded/put onto the same track in the old days). So Warner Brothers had to especially produce this special print just for this performance. Also, there was the challenge of balancing the volume of the orchestra with the film’s soundtrack. And also the lighting such that there was enough for the orchestra but not distracting for the film watcher. 

But what a great job they did. What a brilliant score. And what a brilliant performance.

 

Once

20 March 2013, Phoenix Theatre, London

Quietly beautiful. Subtly moving.

Once won 8 Tony’s last year. It’s a bit of a mystery how it’s not selling very well in London at the moment. I think partly it’s to do with its unfortunate clash with the opening of The Book of Mormon which has gotten the whole town talking, partly because its marketing isn’t being done very well (why aren’t they SHOUTING about all the awards it’s won? And the poster looks like a chic lit cover), and actually partly because the text and story isn’t overwhelmingly compelling and convincingly moving – but because the show was so well done in all other aspects, it didn’t really matter.

It’s a great show. You can’t help but be swept away by all the music and singing. Really made me appreciate the beauty and power of music. How it can bring people together and be a powerful vehicle for expressing emotions.

The movement within the musical was great too. Beautiful lyrical movements particularly during scene changes and that one section right before the interval – where all the musicians performed a piece of very simple but effective choreography whilst playing their instruments – stunning. The cellist even had the cello strapped to his waist so that he could dance and play at the same time.

The set was so well done. The backdrop is an Irish pub, and although the actors moved from space to space within the storyline, they never physically left the pub. Except (clever decision!) for a scene where the leading protagonists escaped to overlook the city – here, they climbed some stairs and stood on top of the pub.

The pub itself had a back wall covered with mirrors of all different sizes. So when the performers and musicians were on stage, you’d catch glimpses of their hands playing instruments, of the side view of their faces, of the red-checkered floor, of their looks when they turned around to face the back – really good at producing a small-town everyone-everywhere-and-watching environment. The audience could even climb onto the stage and buy their drinks at the bar during the interval! Go see it!

A Chorus Line

2 April 2013, London Palladium

Makes you really appreciate and respect the hard life of artists. Auditioning relentlessly, putting themselves on the line…

It was a fun show. One and I Hope I Get It were two of the songs I first learnt full dances to, so when they performed these two songs, I sat there with a great big silly grin on my face. Great memories.

What I really liked about the show were the formations. I loved how the choreography made use of the large group of dancers to weave in and out of each other in cannon style and to create interesting movement. The lighting was great too. I particularly liked the section where each dancer had their own red/yellow/blue light box and performed within it.

However, there was something that just wasn’t quite right about this show. A couple of my friends didn’t realize it was set in the 80s, so maybe they should’ve played up that? The costumes, way of talking, references and choreography were definitely dated. I understand it’s a classic (and actually directed by original co-choreographer Bob Avian) but I wish they updated it (esp the choreography) to make it relevant.

The dancing wasn’t very consistent either… the men were generally quite good but some of the women looked awkward at times and had poor extensions and unfinished movements – but not all the time though. It was a bit odd. Were they playing the part of an auditionee who was only ‘good enough’ for a chorus? It looked like they weren’t able to fully embrace the steps. Couldn’t tell if they hired them based on their acting or singing instead? Have to give credit to the singing though – some of the songs definitely weren’t easy to sing.

Great energy though! My takeaway – choreograph so your dancers look good, and when possible/suitable, relevance to the audience helps. Also, a bathroom break would’ve been good too! Sure, there wasn’t a natural break in the storyline for an interval and it would’ve interrupted the flow, but the audience got a bit restless after two hours!

Trelawny of the Wells

21 March 2013, Donmar Warehouse, London

Great play on at the Donmar. Can always count on Donmar to deliver quality shows at low prices in an intimate setting. Ha I sound like I work for them.

Perhaps it’s because I’ve kind of been on a theatre drought… this show, although far from my usual taste (a comedy set in the Victorian times), was great. I thoroughly enjoyed it. And I didn’t fall asleep despite being jet lagged… that must say something

The acting was phenomenal. I’ve really come to appreciate how great good acting is (used to take good acting for granted!) – and the key to that is being able to be subtle. And interestingly, the actors played actors within the performance and so put on stereotypical caricature personas. So they themselves weren’t playing subtle characters, but somehow the way they did it wasn’t bad acting. Hm not sure I’m explaining it very well! Anyway, they actually addressed subtlety as key to acting in the play – act it, don’t show it. The play also addressed the inevitability  of developments and changes in theatre, which was interesting. Some of the actors played multiple characters and it really demonstrated their versatility. Especially Ron Cook who played a comedic old female theatre manager then a serious old traditional grandfather.

What got me to buy tickets was actually because I saw the movie Anna Karenina on the plane and got really excited by the staging of it. The acting wasn’t great (except Jude Law) and it by no means did the book any justification but it was fine because I watched it as just another movie (and not as a telling of the great novel). But yes, the set blew me away… so cleverly done. Although because of the chosen style, it meant that the movie lent itself to being overly dramatic, super theatrical and staged like to the point it was a bit comedic, but that was fine. And actually the bits that I loved… like the dancing and the music turned out to be produced by some of my favs! Sidi Larbi Cherkaoui did the choreography (although a very small element, his distinct style came across) and Dario Marianelli did the music… (who I’ve worked with before!) And the screenplay is written by Tom Stoppard.

Oops. Back to this play. So yes I was intrigued because I was researching matinee shows after getting off the plane this morning and saw that it was directed by Joe Wright who directed Anna Karenina and Atonement, and actually it’s his theatre directorial debut. Also the play was an update by Patrick Marber, a playwright I worked with before who has a funny sense of humour.

I hadn’t read/seen the original version of Trelawny of the Wells but I definitely had a great lighthearted afternoon!

Chinglish

3 March 2013, Hong Kong Academy of Performing Arts

Comedy is usually not my preferred theatre genre (primarily because I don’t like slapstick humour which then crosses off a lot of comedy for me) but… Chinglish… wow it was so good! And I was so pleased it was good, though I wish we got to see Jennifer Lim play the female protagonist.

While the idea they presented is not new, especially to the Hong Kong crowd, it was so well written that it came across as quite refreshing. So many plays I’ve seen over-simplify issues of race and gender or rely so much on stereotypes, that I often get really wound up, uncomfortable and offended. However, somehow, Chinglish managed to convey its ideas and character types without offending anyone, which is impressive, as it is hitting so close to home. I think it’s because it presented the views from both sides (English-speaking and Chinese-speaking) and while every character was still very much a stereotype, they were collectively used to ridicule the situations we often find ourselves in.

Anyway, despite unbelievable/stereotypical characters, it was a joy to watch.The relationship between the English-speaking male protagonist and the Chinese-speaking female protagonist was a bit farfetched and there was definitely a lack of passion/emotion between them, but actually it didn’t matter. It was the humour, the pace in which lines were delivered and the misunderstandings that made the show. I loved how the writer would set up the scene by first delivering the concept verbally i.e. a character is told that Chinese are humble so long there is someone else in the room that will praise them profusely, and then that specific scenario happening in the next scene. And again later on to reinforce the effect. So funny and cleverly written.  Celeste Den who played the first interpreter was hilarious. She got it spot on. We all couldn’t stop laughing.

I imagine Hong Kong is the perfect audience for this show. As most people speak both languages, they get the most out of the interpretations (or mis-interpretations), have experienced Chinglish first hand, totally get the stereotypes and most importantly can catch and appreciate the subtleties. However, I do wonder what it was like for the Cantonese-only audiences. Actually, that’s one thing Hong Kong Arts Festival or the APA need to work on… the placement of the surtitle box. There was no way someone could watch the play and read the surtitles at the same time (too far off to the right and left of the stage). But they were really clever about the placement of the subtitling and how it was done… though that is because subtitling is integral to the play, while surtitling is an add-on for the performances in HK.

I also really liked the set. Four-sided blocks on the two sides of the stage rotated to present different spaces. Scene changes were executed very snappily. And the bows were quick, as they should be. More about that another time.

I would see this show again. I hope it keeps touring/finds a permanent home.