REVIEW: THE DAO OF UNREPRESENTATIVE BRITISH CHINESE EXPERIENCE at Soho Theatre, Dean Street 19 June – 13 July 2024

‘a show which entertains but at the same time points a rigid finger at those who don’t see the individual behind the outer shell’ ★★★★

It is a visceral experience and a riot of fun by the end of the play, after a shaky start. Fashions come and go in theatre, but currently we are seeing a whole raft of semi-autobiographical plays. The problem with some of these is that audiences are being asked to sit through a self-indulgent play about the minutiae of the knocks and blows of life … and why would we? We’ve got our own knocks and blows to deal with. Not only that, but meta-theatre pops up with a regularity that begins to seem trite.

However, in this case the play is outward looking, and the more personal moments help to root the play in an actual lived experience. It is also in many ways a common experience, felt by many others, for many different reasons. Oh, and no need to worry about the meta-theatre because it does give wonderful light relief, in a play which homes in on the unpleasant experience of racism and being a kind of outcast, not being accepted as British (contrary to actual fact), and yet not being quite Chinese enough.  Our hero has one Chinese parent and one British parent which exacerbates the conundrum. Should our hero follow the ‘Dao’ of ancient Chinese philosopher Zhuangzi and dream of being a butterfly? Or be a butterfly dreaming of being ‘Chinese’?

The play uses many different discombobulating methods to pose its points. It is gig theatre embracing punk rock, pop, rap and rock.  The play alternates between the story and Chinese philosophy or mythology. It builds up to a cultural richness which we surely should all embrace rather than attempting to straitjacket people into some kind of norm (what is that anyway?).  This is the crux of the piece and a point well-made by the end of the show. 

Our hero isn’t the ‘model minority’ Chinese youth, the quietly invisible mythological architype; the high achieving student perhaps, or someone whose father takes the family out for dim sum of a Sunday. This person takes drugs, gets thrown out of school and lives on benefits.  Being in on a car chase, meeting a nemesis police officer, being locked up, being rehabilitated, then, finding art, in the form of … theatre. 

There are many good things here, which add up to the Dao of British Chinese experience.   Director, Alice Kornitzer, keeps up a fine pace, with exceptional use of the playing space in this complex play, giving visual interest aided by movement director Si Rawlinson.  With so many creatives involved in the production, there is always the danger of a show which doesn’t have an overarching plan. Thankfully, writer Daniel York Loh has a very clear vision and Kornitzer has listened well and made choices which allow the themes to flow out. 

The collaborative element ensures, a flexible set with psychedelic projections, and a lively assortment of musical compositions. The punk inspired costumes also remind us of anti-establishment ideals, rebelling against mainstream society. Never a dull moment.  The actors and musicians do a fine job.  Aruhan Galieva has a particularly impressive vocal range hitting some lovely high notes which harmonize beautifully with the other singers.   

It is a show which entertains but at the same time points a rigid finger at those who don't see the individual behind the outer shell. We all want acceptance, and we all want to belong.  

THE DAO OF UNREPRESENTATIVE BRITISH CHINESE EXPERIENCE at Soho Theatre, Dean Street 19 June – 13 July 2024

https://sohotheatre.com/events/the-dao-of-unrepresentative-british-chinese-experience/

Words by Daniel York Loh

Music by An-Ting 安婷

Directed by Alice Kornitzer

Performed by Daniel York Loh, Melody Chikakane Brown and Aruhan Galieva

Produced by Natalie Chan

Sound designed by/music composed by An-Ting Chang

Movement directed by Si Rawlinson