Feiyang Xiang

REVIEW: Kafka’s Metamorphosis: The Musical! With Puppets!

Published on August 26, 2024 by Feiyang XiangLeave a comment

Blending absurdity and humour, it reimagines Kafka’s classic story in a lighthearted manner.

Originally, Kafka’s “Metamorphosi” was a classic work by Franz Kafka, created with his unique existential perspective. It tells the tragic story of an ordinary salesman, Gregor Samsa, who suddenly transforms into a beetle and is gradually abandoned by his family and society. The musical adaptation, “Kafka’s Metamorphosis: The Musical! With Puppets!”, presented by Throughline Projects in association with Rocket Productions, merges Kafka’s novella “The Metamorphosis” with elements of Kafka’s own life. This results in a humorous and comedic musical that breaks away from the original’s heavy atmosphere. The production cleverly intertwines Kafka’s personal struggles with the narrative of his novella, creating a dual narrative structure that reflects the parallel fates of Gregor and Kafka himself—both trapped in unrecognized and unappreciated lives. Utilizing puppetry, shadow play, and other forms of performance, the production revitalizes this classic work with vibrant energy.

Blake Du Bois impressively both plays roles of Franz Kafka and Gregor Samsa. When he uses the puppet in his performance, the character shifts to Franz Kafka. The puppet, an endearing glove puppet with a slightly impatient personality, adds a layer of humour and absurdity to the show. Du Bois occasionally steps out of character to interact with the puppet, which is self-aware, knowing it is a puppet. This self-referential humour enhances the absurdity, aligning well with Kafkaesque themes. The other three cast members, Morgan Smith, Kaia Fitzgerald, and Luis Rivera worked perfectly together and performed well, with enthusiasm and perfect harmonies. The music and lyrics, written by Matt Chiorini and Travis Newton, the musical number aren’t quite as catchy as they could be, but they are enjoyable and fitting for the moment.

When discussing Kafka’s works, the term “Kafkaesque” often comes to mind. However, this production is less an adaptation of Kafka and more a reimagining based on his life and the novella The Metamorphosis. It deviates from the traditional “Kafkaesque” style, presenting a narrative that is more focused on humour and light-heartedness. Beneath the laughter, the creators may have intended to subtly reflect Kafka’s profound questions about society, family, and self-identity. Yet, the comedic tone ultimately immerses the audience in amusement, diluting the reflective nature of Kafka’s original work.

https://tickets.edfringe.com/whats-on/kafka-s-metamorphosis-the-musical-with-puppets

REVIEW: Fortune Bistro

Published on August 25, 2024August 25, 2024 by Feiyang XiangLeave a comment

An innovative idea with poor execution.

“Fortune Bistro” presents an interesting and meaningful concept that attempts to explore the relationship between Eastern traditional cultures and modern technology. In this play, two strangers and a bartender engage in a dialogue through I Ching divination and AI-driven choices. However, while the play strongly emphasises the collision of the I Ching and AI in its promotion, the actual performance remains superficial, failing to delve deeply into these significant themes, leaving much unresolved and some aspects glaringly underdeveloped.

In the play, one actor speaks in Chinese and the other translates into English, adding humour to the play through their performances. The play uses mixology as a medium to link the themes of AI and I Ching, and also to interact with the audience through mixology. The audiences also participate in the process of making cocktails and become part of the play. This interactive element enhances the immersive experience and symbolizes the idea that life is full of possibilities, like mixing a cocktail, and that the choices in life are all made by oneself.

However, despite the creativity of this interactive design, the pacing of the play feels rushed, leading to some awkward and abrupt transitions. This is particularly evident in the scenes involving I Ching divination and AI decision-making, where these crucial elements are showed quickly but without enough discussion or exploration.

I Ching, an ancient Chinese philosophy classic, with its complex system of 64 hexagrams, holds a wealth of wisdom and intellectual depth. But, in “Fortune Bistro”, it is only briefly introduced, lacking any deeper exploration of its philosophical significance. The pivotal aspects of I Ching divination and AI decision-making are treated symbolically rather than substantively. When the play juxtaposes the traditional Chinese ritual of divination with modern AI, the hurried pace and lack of in-depth discussion make it difficult to fully appreciate the cultural gravity of I Ching, and the potential philosophical dialogue between it and modern technology is left largely unexplored.

https://tickets.edfringe.com/whats-on/fortune-bistro

REVIEW: Oedipus Rex

Published on August 21, 2024August 20, 2024 by Feiyang XiangLeave a comment

A dynamic operatic feast for the community

Scottish Opera’s Oedipus Rex is an adaptation of Sophocles’ ancient Greek tragedy, based on Igor Stravinsky’s opera, is staged in the National Museum of Scotland. Conducted by Stuart Stratford and directed by Roxana Haines, the production features a mix of professional and community chorus members.

The play introduces a very interesting role, the speaker, played by Wendy Seager, who would occasionally interrupt the narrative and offer. Shengzhi Ren as Oedipus delivers a stunning performance with a powerful and emotive voice, while Kitty Whately’s portrayal of Jocasta is also highly impressive.

It is a movable operatic feast for the community, with the performance flowing through the entire atrium space, encompassing both the first and second floors of the museum. The central area of the atrium featured a rectangular platform surrounded by several tiers, with the orchestra seated within the rectangle. On both sides of the platform and on the second floor, the audience gathered to watch. Even before the performance officially began, chorus members were dispersed throughout the first and second floors, blending in with the audience. The chorus members on the first floor represent the traditional Greek chorus, while also symbolizing the members of society. Meanwhile, the royal characters—Creon, Jocasta, Oedipus, and Tiresias, stand on display platforms, perfectly integrating into the museum’s setting alongside exhibits. On the second floor, elaborately dressed actors stand in various positions, portraying the gods, silently observing the human activities below. Even before the performance began, just entering the museum performance space left me deeply moved.

As an audience member, you can freely choose to watch from different views, experiencing different theatrical effects and emotional depth. If you choose to stand on the first floor, you become part of society and the royal family, and may have a very close interaction with the performers. If you chose to watch from the second floor, you become the god, observing the human world from a third-person perspective. I stood on the first floor. When the performance began, the chorus standing beside me started to sing, and their voices resonated throughout the museum, creating a powerful and immersive experience.

This production breaks the traditional dualistic spatial separation of stage and audience, and offers an immersive experience that deepens emotional resonance. It immersed the audience in an interweave of history, culture, and theatre. However, the production is somewhat flawed by emphasising form over content. The director’s ideas are demonstrated through the unique spatial setting rather than through the performance. Additionally, performing in the museum diminishes the sound quality compared to that of a theatre, and the audience’s view of the performance is somewhat restricted.

https://www.eif.co.uk/events/oedipus-rex

REVIEW: Hamlet

Published on August 20, 2024August 19, 2024 by Feiyang XiangLeave a comment

Hamlet attempts to escape from all prejudice and discrimination, as well as societal and theatrical conventions, by creating a dialogue between the original text and the more personal narratives of the cast members.

This is one of the most unique and meaningful versions of Hamlet I’ve ever seen. Produced by Peruvian theatre company Teatro La Plaza, directed and written by Chela De Ferrari, this version of Hamlet presents the stories of people with Down’s syndrome. Rather than being an adaptation of Shakespeare’s Hamlet, this play is a narrative that uses the framework of Hamlet to explore the lives of people with Down syndrome. This play, which consists of eight adult actors with Down syndrome, deconstructs and retells the original play by focusing on several key themes—like the question, “Who is Hamlet?”

As the performers enact the story of Hamlet, they also weave in reflections on their own lives, their interpretations of the characters, and incorporate elements such as electronic music, rap, and multimedia videos. The crown is passed among the actors, each one expressing Hamlet’s inner turmoil in their own voice, redefining his pain in ways that are personal and universally understood. Hamlet’s famous question, “To be or not to be,” is his existential dilemma and search for the meaning of life. In this production, people with Down syndrome, who are often viewed as “different,” also confront struggles for survival and independence. In reality, there are societal prejudices against those with Down syndrome, seeing them as burdens, as marginalized members of society.

In the play, the actors take turns portraying Hamlet and Ophelia, sharing their own life stories—about love, family, and their personal experiences. This intertwining of their pursuit of a meaningful life with Hamlet’s existential questions effectively brings together the challenges faced by people with Down syndrome and the struggles of Shakespeare’s character. There’s a saying: “There are a thousand Hamlets in a thousand people’s eyes.” In this play, I saw that everyone is Hamlet, especially those who face unique challenges, each grappling with their own existential dilemmas.

One moment that deeply moved me was when the cast discussed how to portray Hamlet. Initially, someone imitated Laurence Olivier’s version of the character, but another cast member stepped forward to suggest that they should perform their own Hamlet. This moment was a powerful expression of the cast’s desire to assert their own identities, to reject living within the confines of others’ definitions, and to raise their voices. They are shouting to the world in their own simple but profound words. At the end of the play, the actors invited the audience to join them on stage to dance, which is like a communal celebration of the joy of life.

https://www.eif.co.uk/events/hamlet

REVIEW: Picasso 2033

Published on August 16, 2024August 16, 2024 by Feiyang XiangLeave a comment

Set against the backdrop of AI, Picasso 2033 explores the profound mother-daughter relationship

Picasso 2033 is an experimental play set in a future world where AI gradually replaces humans in the field of art. In the narrative, AI painting trainer 9527 (Gawa Leung) returns to the house where she once lived with her mother. Her mother’s unfinished painting, created during her battle with Alzheimer’s disease, awakens her memories. Through the emotional entanglement between the protagonist, 9527 and her mother (Yue Tang), the play delves into profound reflections on the future of art, artificial intelligence, and the identity and creativity of humanity.

Picasso 2033 emphasises the exploration of AI’s impact on art in its promotion, but the actual theme is more about discovering the relationship between mother and daughter. In the play, AI functions more as an aid to the daughter’s understanding of her mother’s emotions. However, compared to the AI theme, the portrayal of the mother-daughter relationship is more moving and profound, resonating deeply with the audience. This makes the discussion of AI lacking in depth, the position of AI is expressed primarily through 9527’s final monologue, which voices doubt and resistance toward AI.

The stage design of this play is very innovative, cleverly dividing the space between memory and reality, and between the past and the future, using chain curtains, projections. The chain curtain divides the stage into two parts: the front half represents the present reality where 9527 exists, while the back half represents the memory space where the mother resides. Multimedia projections are also cast onto this chain curtain. The chain curtain serves not only as a visual separator but also symbolizes the insurmountable boundaries of time and memory between the daughter and her mother. There is also a bicycle placed on the right side of the stage. During the performance, 9527 delivers her lines while riding a stationary bike, pedalling at different speeds in sync with the emotional fluctuations of the performance. This setup is unique and full of symbolic meaning, conveying a sense of emotional disorientation and repetitive struggle. Gawa Leung’s performance is compelling, and the physical challenge of riding a bicycle while acting is handled with great skill. In this play, I can also see echoes of many European contemporary theatrical works.

https://tickets.edfringe.com/whats-on/picasso-2033

REVIEW: Vanishing

Published on August 16, 2024August 16, 2024 by Feiyang Xiang1 Comment

Many innovative techniques are used to explore themes of identity and existence, but somehow it is too abstract for the audience to connect with

Vanishing is set against the backdrop of two diners, one in Hong Kong and the other in Los Angeles, and revolves around two characters, [A] and [B]. A mysterious telepathic phone call connects them across different times and spaces, allowing for a conversation that transcends temporal and spatial boundaries. At the heart of this play is the concept of memory tied to objects and spaces, which the creators have attempted to explore using cardboard box props and video projections. However, these innovative forms also render the play with many abstract symbols that leave the audience feeling confused.

The primary stage props are these cardboard boxes, printed with telephone keypad numbers and images of diner food. Throughout the play, the two characters deliver their lines while simultaneously moving, reorganizing, and assembling the boxes, creating a dynamic stage space. While I can roughly understand that the process of assembling and dismantling the boxes might symbolize the characters’ exploration of their self-identity, I still struggle to grasp why the boxes need to be moved at certain points. Many of these actions felt lengthy and repetitive to me, affecting the overall rhythm of the performance.

The identities of the two characters are ambiguous. Through their dialogue, where words like “vanishing” and “disappearing” are frequently mentioned, one can infer their anxieties and fears about existence. The play attempts to explore themes such as identity and the meaning of existence through the dialogue between the two characters. But the characters lack concrete backgrounds and motivations, making them overly abstract and symbolic, which makes it difficult for the audience to empathise with them. And the dialogue is filled with metaphors and symbols but lacks a clear direction or conclusion. This abstract way of expression prevents the audience from truly feeling the characters’ pain and struggle. What’s more, the dialogues of the show are in English, Mandarin and Cantonese. While I can feel that the creators may have been trying to convey a concept of pushing back the Tower of Babel. Even with the subtitles added to the projection, it still made understanding the play more difficult.

https://tickets.edfringe.com/whats-on/vanishing

REVIEW: Breathe

Published on August 12, 2024August 11, 2024 by Feiyang XiangLeave a comment

A simple and heart-warming story, with expressions of hope and vitality.

Produced by Half a String company, “Breathe” is a puppetry play combined with live music performances, uses real-time photography to present the story. The story follows a “Seedling” puppet as they hatch from and acorn and experience the hectic forest floor, explores the inner workings of trees.

The most impressive aspect of the show is the versatility and seamless coordination of the three performers. They take on multiple roles, serving as storytellers, puppeteer, musicians, cameramen, and even responsible for scene changes. The show features many beautiful pieces of music, which are also available on Spotify and Apple Music. The original drums and bass, along with the live ethereal folk music, create a warm atmosphere for the growth of the little acorn, and also drives the narrative forward. The play magnifies the micro-world of nature through real-time photography, requiring the performers to switch between seasons and different scenes on two platforms. The three performers work seamlessly together, using the lenses of two different devices to transition time, all while maintaining a smooth projection on the big screen. At times, the performers have to make rapid scene changes, and their coordination on stage, moving props, and changing sets is as fluid as a well-choreographed dance.

This is a simple and heart-warming story, full of expressions of hope and vitality. However, the play lacks dramatic tension or conflict, and the pacing is slow. While the interactions between the bugs and birds, and the little acorn and leaves, are very interesting and touching, the absence of dialogue makes it somewhat tedious. The audience can only engage with the show through real-time images and puppet performances. For children, this is a very innocent and charming work, and for those experiencing this type of micro-world puppetry combined with real-time photography for the first time, it may feel fresh. But for adults who have seen this format before, the show might seem a bit dull. Moreover, the dark, stuffy, and poorly ventilated theatre environment can make it easy for one to feel drowsy.

https://tickets.edfringe.com/whats-on/breathe

REVIEW: The Dream of Being A Madame

Published on August 11, 2024August 11, 2024 by Feiyang XiangLeave a comment

Though it also presents some questionable points, the play effectively explores complex themes of feminism and modern relationships, offering many highlights in theme and characterisation.

“The Dream of Being a Madame” depicts two women, May (Joyce Lim) and Lairs (Li Xu), who have different values and personalities but become close friends. The play is driven by dialogue, exploring themes such as feminism, traditional and modern female identities. The play has many highlights in terms of theme and characterisation, but there are also some questionable points.

May, an American-born Korean living in London, is a thoughtful and reflective character representing a modern woman who strives to maintain independence and self-identity. However, Lairs, a Chinese international student, embodies materialism and impulsiveness. Her relationship in the play is driven more by economic and social interests. However, Lairs’ character is also full of tragedy. influenced by her upbringing and family, and her behaviour reflects deep inner insecurity and vulnerability. The play explores the issues of feminism and gender roles. Through the dialogue and experiences of May and Lairs, playwright Qi Wang presents the difference between traditional and modern views of women’s roles, particularly in terms of personal autonomy and societal expectations regarding women’s careers and family roles. Love and relationships are also one of the central themes of the play. The interactions of the characters in the play demonstrate different understandings of love, from May’s genuine emotional connection to Lairs’ more transactional relationships. By comparing these relationships, playwright Qi Wang criticises the shallowness and utilitarian nature of love in modern society, provoking the audience to think deeply about the nature of emotions.

Although “The Dream of Being a Madame” has a number of commendable aspects in terms of thematic depth and characterisation, there are also some shortcomings, which weaken the overall effect of the play to a certain extent. While the characters of May and Lairs are well-developed, are more fully fleshed out, but Lairs’ character development seems stagnant, with her actions driven more by impulse than by a lack of considered growth or metamorphosis, making for a lack of emotional drive. Additionally, portraying a Chinese woman as a somewhat shallow character, resembling a “gold digger” or someone obsessed with love, might risk reinforcing the Western patriarchal stereotypes of Asian women. In some parts, the pacing of the play seems slow, especially in the characters’ daily interactions and emotional reflections. While this pacing helps with characterisation, the overly slow pace may weaken the audience’s interest.

https://tickets.edfringe.com/whats-on/dream-of-being-a-madame

REVIEW: Yuja Wang

Published on August 7, 2024August 6, 2024 by Feiyang XiangLeave a comment

Yuja Wang shows her extraordinary technical skill and profound musicality, blending her unique personality with masterful performances of masterpieces by Chopin, Shostakovich, and Barber.

Yuja Wang, the internationally acclaimed Chinese pianist, performed a stunning solo recital on 5^th Aug at Usher Hall. Renowned for her exceptional technique and profound musicality, she captivated audiences worldwide. She is a pianist with a distinctive personality. In this recital, she once again donned a beautiful dress that reflected her unique style, confidently performing in her signature high heels. Her performance conveyed her character—straightforward, confident, and poised. Regardless of external opinions, Yuja has seamlessly integrated her distinctive, maverick personality with her piano playing style.

Tonight’s program featured a diverse selection from Chopin to Shostakovich, showcasing her deep understanding and mastery of different styles. The first half opened with Chopin’s “Ballade No.1 in G minor, Op.23” and “Ballade No.2 in F major Op.38”. Yuja’s delicate understanding of Chopin’s music and her superb technique were perfectly displayed in these two pieces. Her performance took the audience on a journey full of emotion. She then played several of Shostakovich’s Preludes and Fugues, demonstrating her command of modern compositions. These pieces were filled with profound emotion and complex structures under her fingertips. These performances not only showed her technical prowess but also highlighted her deep understanding and personalized interpretation of the works.

After the interval, Yuja changed into a white dress and continued her brilliant performance. In the second half, Yuja chose Barber’s “Sonata in E-flat minor, op.26”, a piece composed of four movements, full of challenges and modernity. She delivered a precise and deeply emotional performance, capturing the tension and complexity of Barber’s music. She then concluded with two other Chopin’s Ballades. The English pianist John Ogdon called Chopin’s Fourth Ballade ‘the most intense and sublimely powerful’ of all his compositions. In Yuja’s interpreted, these pieces reveal the rich layers and deep emotions of Chopin’s music. From the gentle, intricate melodies to the powerful, dramatic climaxes, Yuja’s performance was full of moving emotional force and artistic beauty.

The enthusiastic applause brought Yuja back for multiple encores, rewarding the audience with a diverse selection of pieces. Among them, “A Young Shepherd with a Flute” (English translated by Yuja) is a piano piece with a distinctive and mature Chinese style, portraying an idyllic Chinese soundscape that is completely different from the Western style. This piece combines Western polyphonic writing with Chinese national style, presenting unique Chinese style characteristics. The piano superstar offers a diverse range of virtuoso masterpieces across classical and Romantic, impressionist and contemporary genres. For me personally, this concert was not just an auditory feast but also a spiritual cleansing. Throughout the recital, Yuja Wang’s wonderful performance made me deeply feel the power and beauty of music.

https://www.eif.co.uk/events/yuja-wang#about

REVIEW: Showstopper! The Improvised Musical

Published on August 3, 2024August 2, 2024 by Feiyang Xiang1 Comment

Go on a musical adventure with boundless creativity and originality!

Showstopper! The Improvised Musical is a captivating improvised musical that attracts a large audience with its boundless creativity and originality. This performance showcases the extraordinary improvisational skills and musical talent of its actors, leaving the audience thoroughly entertained. Although it is an improvised performance, Showstopper! does not merely mimic musical theatre genres or descend into comedic antics. Instead, it seriously tries to present itself as a meticulously rehearsed musical. Each performance features six actors dressed in red and black, along with a host-like actor, The Writer. At the beginning, The Writer sets the scene for the musical: he is in need of a musical but has nothing to start with, requiring the audience’s help to provide the theme, title, and musical style. Thus, an unknown adventure begins.

On the day I attended, the theme was “Mediocre Superhero”, in the style of “The Greatest Showman”, “Matilda”, and “The Sound of Music”, and the title is “The Un-Incredibles”. These seemingly unrelated keywords were brilliantly woven together by the actors into a musical. This method of improvisation fills each performance with surprises and freshness.

The actors’ performances in Showstopper! are undoubtedly the highlights of the show. They demonstrated remarkable creativity and quick reflexes through improvised dialogue and song creation. Almost immediately, the six actors found their roles, began to sync their performances. The three-piece band on stage also provided excellent accompaniment. Showstopper! doesn’t have a fixed script, but the melodies and lyrics of the improvised songs stay on theme and display a high level of professionalism and creativity. As an audience, I often wondered what would happen next, which parts were pre-set, and which were improvised.

The Writer shows exceptional control over the improvised performance. He interrupts the show at key moments to interact with the audience and gather new ideas. For example, he asked slogans for the superheroes from the audience. “Ear out to help out” became a punchline of that day’s show, bringing many laughs. The stage design is simple, with only a few movable platforms and metal frames, but the actors use these simple settings flexibly to adapt to various improvised scenes.

Showstopper! is full of surprises and creativity. Although occasional small mistakes or flaws in the plot might occur in improvised performances, this is where their unique charm lies.