A Triumphant Revival of a Chinese Classic
The Theatre Practice’s latest offering is the bold and confidently-directed Liao Zhai Rocks, a Chinese classic reanimated by the piercing wail of an electric guitar. In this fantastical world where men and shapeshifting spirits roam the earth, reality and illusion proves to be slithery concepts.
Co-directors Kuo Jian Hong and George Chan remarkably orchestrates moments that break the visual monotony of a scene through spellbinding moments of stage magic. This is well supported by the very adaptive set (Wong Chee Wai). The lighting design (Genevieve Peck) and sound design (Shah Tahir) shines the brightest in the second act, evoking a febrile psychedelic Underworld whilst differentiating King Yama’s voice with an authorial, reverberating timbre. Coupled with elaborate period costume (Tube Gallery) and a sharply choreographed ensemble, Liao Zhai Rocks cements itself as a sumptuous feast for the eyes right from the opening number.
The main cast composes fairly archetypal characters who deliver consistent performances. There is the scholar figure Sang Xiao (played with debonair insouciance by the impeccable Inred Liang), the curious fox demon, Ying Ning (Joanna Dong), the melancholic minstrel maiden, San Niang (Ethel Yap), the adamant demon-slayer, Cheng Ban Xian (Sugie) and a wizened guardian character, Tian Zi Zai (Yeo Lyle). They present a compelling tale of love-triangles and forbidden desires, but I find myself struggling at times with issues of plausibility. This is especially so in the second act where character histories are shoehorned and dovetail to form a dense web of past and present lives. Perhaps it is the script’s eagerness to tie the many threads together, or the acting or my immanent skepticism; but my biggest quibble with this otherwise handsome production is the hurried plot developments that teeter on the edge of contrivance.
Putting these moments of incredulity aside, the heady cocktail of the supernatural and the primal force of rock music works. Standouts include songs like Tangled（缠绵) and Saving My Beloved/Life Against Death (救爱／生死难眠), best testified by audience members humming the very tune after the show. However, I am slightly disappointed by King Yama’s entrance (我是阎罗), having anticipated a more larger-than-life character, and the odd moments of farce where King Yama seems less macabre Ruler of the Underworld and more Monkey King does him little favours.
Pu Songling conceived of these Strange Tales from the Chinese Studio as an allegory for an overly ordered Chinese society that scorns acts of transgression and forbidden love. This battle between the private and the public rages on today. As one particular line in the lyrics goes – we can only blame the human heart for being hard to fathom (怪人心难以捉摸). Well, it is not hard to fathom why this musical is being restaged after six years, and I must say, Liao Zhai really does rock.