Review: The Orphan of Zhao

“Will this story tell me who I am?”

1 hour ago

Zeynah Yusuf | Theatre

Tackling a play like The Orphan of Zhao is difficult for many reasons: It’s over 2,500 years old and many different versions exist; Some concepts that are rooted in Chinese culture may be difficult to portray to a British audience. But the ADC production did the story justice, bringing together a cast and crew of mixed backgrounds to portray themes that resonate with us all.

“We are all much to be pitied.”

Director Chester Chen and Producer Kevin Zhao decided to perform the version of the script adapted by James Fenton for the Royal Shakespeare Company, a wise decision to make the play accessible and resounding across a diverse audience. The set, designed by Yasmin Herron Isa, was beautifully simplistic in nature. It allowed the audience to focus on the emotional arcs of each character. One enticing scene included a screen descending on stage with a story told in silhouettes.

Paired with a costume design that appreciates traditional Chinese culture, I didn’t feel like I was watching a stage production. Instead I lived and experienced life in the villages, mountains and palaces where the story takes place.

The colour red permeated the design of the production, a bold choice that instilled thoughts of revenge, passion and sacrifice. And the lighting wasn’t random either, thanks to lighting designer Li Xuan Ho. Each fade out and spotlight played a foundational role in guiding my attention, and allowing me to fully immerse in the action.

via Unsplash

I didn’t think Barney Sayburn could give a better performance than in ‘At Your Leisure Centre’ earlier this term, but his portrayal of Tu’an Gu was exceptional. It both unsettled the audience and provided occasional comic relief (in a Scar-like fashion). Munya Mundove did an astonishing job of portraying Zhao Dun’s bravery and hopelessness (please, get more ARU students to the ADC!). And his son, the orphan Cheng Bo, was a perfect role for Krish Misra. He presents as naïve at first, thrust into a life he knows nothing about and has no choice but to live. With every scene, he realises more who he is and how much responsibility he truly has, a moving rising action.

“How has this conflict suddenly entered my life?”

via Unsplash

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As Elena Zheng mentioned in a pre-show chat, you know something is about to go wrong when the female characters aren’t given names. Her portrayal of ‘Wife’ was heartbreaking. When her child was threatened, we can see her strength becoming fragile, a compelling watch. Furthermore, Rosie Nicol shines as Death herself. I got chills every time she came on stage and danced a character to their death. Between this and Julianna McIntyre’s striking performances as the Ballad Singer, there was never a dull moment.

“Death is a journey home.”

Each cast member did an excellent job of making me care deeply about their character from their first appearance. This allowed for an intense emotional experience when these characters and their relationships were destroyed – and a lot of them are.

Loyalty, destiny and revenge saturate the play. Characters like General Han Gue (Edward Campbell) and physician Cheng Ying (Chester Chen) are faced with choices where they must decide whether to do what is right for them, or what is right. This asks the audience how many people must suffer for the “greater good”, or commit to responsibilities that they didn’t necessarily choose.

“I made an undertaking.”

The way this story unfolds is gripping. It allows for a unique immersion in, for many of us, a historically unfamiliar setting. But importantly, it strikes a balance with relation to familiar and universal themes. It is charming, climactic and tragic enough to earn the title the ‘Chinese Hamlet’. And this is something this cast and crew have done a tremendous job representing!