Category Archives: Reviews

Cultural Relativity

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Looking for a night filled with laughter and fun? Then David Henry Hwang’s Ch’ing-lish at the Longacre theater might be right for you. Every aspect of the performance was extremely fascinating. Furthermore, the actors were able to capture your attention with their humor and wit. From the opening scene I was hooked and couldn’t take my eyes off of the stage. In my opinion, all of the elements of the production were able to come together and stand united to display the differences between American and Chinese cultures.

One of the main things that stuck out to me was the effectiveness of the actors in portraying their characters. From the instance Daniel Cavanaugh (Gary Wilmes), the head of an American sign making company, stepped into China you could clearly see that he was lost. He did not understand the culture, the people, and most of all he did not understand the language. He was totally misplaced in a foreign country. During the first scene of the play he explains the intricacies of the Chinese culture and how hard it can be to keep up. However, he is then confronted by Peter (Stephen Pucci), a British schoolteacher who is trying to make it as a business consultant. Peter acted as the bridge between the two cultures and tries to figure out his place in life. He does not know where he belongs and struggles throughout the play to figure out his true calling. Pucci did an excellent job in demonstrating Peter’s journey to find out who he is. On the other side of the spectrum we have Xi Pan (Jennifer Lim), the Chinese vice minister of culture who is transformed into Daniel’s ally and lover. Unlike Peter and Daniel, Xi Pan knows what she wants in life and knows what she must do to get it. Lim does an excellent job in portraying a resilient Chinese woman who has a clear understanding of her purpose, which is to serve her husband and make sure he has all of his needs. Hwang was able to make use of the personalities of each of the characters to reveal the true natures of those who belong to each culture.

David Corins, the set designer, created elaborate settings that truly captured the essences of both cultures. The transitions between each of the scenes were effective and efficient. In my opinion, the use of the revolving set represented Daniel’s perspective in his unpredictable world. At times, he had no idea what was happening and was forced to stand on the sidelines as the world continued to turn around him. There were times throughout the play where he seemed to be confused and in a sense dizzy from the things going on around him. For instance, when he was in the meeting with the minister, it seemed as if he was lost in the background and had no idea what he should be doing. Instead of getting involved, he chose to let Peter handle a large portion of the meeting. It was difficult for him to absorb everything he was experiencing and he had a hard time taking it all in. Just like the world around him was spinning, so too was the set. Corins was able to capture the true nature of Chinese culture through his intricate settings and stage designs. There were many scenes that, in my mind, depicted the true essence of Chinese culture through their beauty and artwork. One set design that caught my attention was that of the restaurant. It truly represented the atmosphere of an Chinese restaurant. It was filled with many Chinese symbols and signs and gave me the feeling that I was eating in my local Chinese restaurant, two blocks away from my home. This is just one of the many was that the set designer was able to portray the Chinese culture through the various settings of the play.

Throughout the play one of the major differences between the two cultures was that of the differences in mindset and views between the men and women who belong to each of the cultures. Through the script, Hwang did an excellent job at highlighting these differences. One scene that had a great impact on me was when Xi Pan and Daniel discussed their affair and the way it will shape their futures. Daniel saw their affair as a symbol of love and passion. He had high hopes for the future and believed that they would live a life together. However, Xi saw it as an escape. She believed that the affair would actually save her marriage. She believed that by doing this she was not only protecting herself, but also protecting her husband from a divorce. It is not right for us to judge Xi’s opinion, because it is based on her cultural experiences. Both characters held certain opinions based on the atmospheres that they grew up in and their cultures shaped the way they viewed and judged certain actions.

When the play ended, I was surprised to see that I got that much enjoyment out of a play that I had to read half of the script off of a screen. I found myself amused by many of the differences that were displayed between the two cultures and was intrigued at how each culture viewed the world. The director, Leigh Silverman, was able to combine all of the elements of the play to create a performance that was both informative and captivating. The performance not only gave me a laugh but also taught me a valuable lesson; that you cannot negatively judge a certain person just because he his culture is different from yours.

Bringing East a Little Closer to West

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Looking for a laughter-filled night out on Broadway? Look no further than playwright David Henry Hwang’s Chinglish, a comic play that is serious when it comes to the issue of cultural barriers. The show is about Daniel Cavanaugh, played by Gary Wilmes, a Caucasian American businessman who is in the small Chinese city called Guiyang trying to acquire a deal for his company Ohio Signage. He wants his company to be tasked with making signs for the new Cultural Center. Through his hilarious correspondences with Chinese officials he meets Xi Yan, played by Jennifer Lim, the Vice-minister of Guiyang. Xi Yan and Danny Cavanaugh work closely together to proctor a deal but through heated discussions and frustration dealing with the language barrier their relationship evolves into an affair. The actors perform quite well and it is completely indistinguishable that the actors who play non-English speaking roles are actually fluent in English. The confusion on their faces during conversations where both the Chinese and English languages are present and the conclusions that they draw from their character’s partial understanding of language all fit into an incredibly realistic portrayal of the situation.

One aspect of the show that stands out immediately is the way the stage is set up by Scene Designer David Korins. The four sets in the show are the minister’s office, the lobby of a hotel, Danny’s hotel room, and a restaurant. The sets spin into place while chairs and tables ride on and off of the stage on a rail, which makes scene progression very smooth. What makes these progressions even more amusing is the incorporation of Chinese pop music played to aid in the transition. This was an excellent choice by Sound Director Darron L. West as it highlights the main theme of the play, cultural differences. Not everyone has heard Chinese pop music and when you want the audience to be fully immersed in the setting of the play you must reach them from every angle. It was definitely a notable part of the cultural learning experience that the show provides.

An interesting theme that the show employs is the sense that no matter what private business is going on, you are never alone. During scenes with heated arguments and passionate feelings an extra dressed as a hotel employee could walk across the stage and go through the revolving door to take a smoking break. This was a unique choice made by the director Leigh Silverman. China is a country known for its large population so to see that affect the setting by never allowing a private moment worked very nicely with capturing the essence of Chinese life and culture. Usually extras are tasked with setting up props for a scene while the lights are dimmed but because of the one-of-a-kind automated stage setup they were relieved of these duties. I found this to be a great side-effect to automating the stage because without seeing extras as “part of the stage” moving the chairs and tables into position, I’m able to concentrate on them being silent background characters that bring a bit of realism to, what would be, an almost empty stage.

Playwright David Henry Hwang is known for his inclusion of ideas like cultural boundaries in his other works such as M. Butterfly so if you have seen his work before then the contents of Chinglish isn’t much of a surprise. He brings to light minute details that differ between Chinese and American culture such as when Daniel Cavanaugh is surprised to learn that he must stay in China for 8 weeks to get to know his client before a deal can be made. Huang also explore larger ideas such as the understanding of marriage and how it’s meaning differs with culture and country. It is shown that while Westerners marry for love and move on when that love disappears, people in the East marry for love but also treat each other as partners in life and do not give up even if love is no longer felt. Before watching the show these facts were completely unknown to me so I am pleased that the show both entertains and educates. I left the theater with a greater understanding of Chinese cultures and not many other shows can boast that kind of teaching experience. In interviews, Hwang talks a lot about racism, stereotyping, and the huge negative effects they have on society. With the help of Chinglish, Hwang is definitely making a difference in the way Americans understand Chinese culture and bring people together through understanding.

Although Chinglish is a comedy show it should not be taken lightly. Through it’s humor, the show conveys a very deep message cultural identity and the walls that exist when attempts at diffusion are made. My only complaint about the performance is a possible disconnect between the show and a Chinese audience. The show’s disproves misconceptions about Chinese culture but it is very one-sided. So for example it might explain how most laws in China are basically a formality and the power lies between client relationships but it doesn’t explain to Chinese viewers how such a situation would be different in America. I would have enjoyed more scenes where stereotypes about Americans are disproven. However, the focus of the show centers on Americans understanding Chinese culture and scenes where the opposite happens are few and far between. Aside from this, the cast performs wonderfully and the stage is set up like no other that I’ve seen. Chinglish is now playing at the Long Arc Theatre and it’s doors are open to Americans, Chinese, and to people of all cultures.

Ch’ing-lish: Humor or Social Commentary?

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Ch’ing-lish, David Henry Hwang’s play about cultural misrepresentation is brought to life in a funny, engaging and highly entertaining production at the Longacre Theatre this season. Ch’ing-lish is a highly relevant, if slightly expected, comedy in the current age of rapid globalization. A spectacular cast under the capable direction of Leigh Silverman, with help from David Korins’s creative set design, make for an enjoyable evening of theater.

The play opens as American businessman Daniel Cavanaugh, played by Gary Wilmes, presents to the udience various examples of hilariously outrageous English translations of Chinese signs to the audience. If Mr. Hwang intended to impassion and educate his audience about the dangers of cultural misunderstanding, this was perhaps a bit detrimental in its sitcom humor. Nevertheless, the prologue effectively aims to ensconce the audience in a comfortable atmosphere of light-hearted humor and sets the tone for the rest of the evening. Ultimately, Ch’ing-lish delivers the humor promised in this prologue.

Gary Wilmes is highly convincing as Daniel Cavanaugh, the hapless and lost American businessman. Cavanaugh is the owner of a sign making company, Ohio Signage and he travels to China with dreams of starting a sign translation project there. The well intentioned but naïve Mr. Cavanaugh instead becomes entangled, to hilarious effect, in the complex politics of Guiyang, a town headed by corrupt party official, Minister Cai Guoliang (played by Larry Lei Zhang) and his Vice – Minister (also the female lead) Xi Yan.

Jennifer Lim is remarkable as the smart, calculating Chinese Bureaucrat Xi Yan. Ms. Lim displays commendable range; she is alternatingly tender, passionate and conniving at different times thus making Xi a thrillingly complex character. Her chemistry with Gary Wilmes, who plays Daniel Cavanaugh is palpable and adds an aura of authenticity to their love story. Ch’ing-lish is more successful in portraying this doomed love story than it is in exposing the difficulties of doing business in China (the premise originally set up by Cavanaugh in the prologue). This is in part due to the laugh-out-loud humor that, while hilarious, did not exactly inspire any serious contemplation about international business relations.

Stephen Pucci plays the role of Peter Timms, a Westerner who is exceptionally knowledgeable about and captivated by Chinese culture. He is ostensibly Mr. Cavanaugh’s business consultant but his character appears to have been crafted more to explore the difficult question of whether race limits one’s choice of culture. Mr. Pucci delivers a moving performance as the confused Westerner, who after years of living in China feels closer to Chinese culture than to the one he was born into.

One of the more noteworthy aspects of the production is sound designer Darron L West’s intelligent music. Contemporary Chinese music echoed around the theatre at each scene change adding a whole new level of excitement to the otherwise very grounded action.  The production was also greatly served by its well-executed set design. Doors, chairs, tables and even an elevator move in and out of the stage creating an entirely different mood for each scene. Set designer David Korins has envisioned and executed superbly a fluid set design that, combined with the riveting music, makes Ch’ing-lish thoroughly exciting to follow through successive scenes.

The use of supertitles, I felt, was the defining element in Ch’ing-lish. The supertitles, in a way, are the play. In an environment of mistranslation and misrepresentation that is portrayed through the supertitles, the characters are puppets to cultural and linguistic barriers. That is, after all, the theme of Ch’ing-lish – the ways in which our understanding/misunderstanding of each other’s culture defines intercultural relations and interactions. Also, Ch’ing-lish is primarily a comedy and the humor is almost entirely derived from the translation in the supertitles. In one scene for example, Cavanaugh hopelessly mangles the Chinese phrase for “I Love You.” Different translations ranging from “My Fifth Aunt” to “Dirty Sea Weed” are flashed onstage as supertitles, eliciting loud and appreciative laughter from the audience.

Unfortunately, the supertitle-based humor also comes off as too tightly plotted at times. The audience is guided through the story with very little room for personal interpretation. The miscommunications and mistranslations are funny but restrictive because the audience always possesses more knowledge than the frustrated characters. Thus, I was only able to sympathize and not empathize with the characters. The situation is salvaged however, by the superb acting especially on the part of Mr. WIlmes and Ms. Lim. The cast conveys enough emotional depth to make the overly narrative plot more moving.

The protagonist, Daniel Cavanaugh, ends the play urging any potential businessmen in the audience looking to invest in China to have “realistic expectations.” Similarly, it is unwise to expect Ch’ing-lish to offer any particularly stunning insight into cultural interaction. Instead, it is best viewed as the highly successful comedy that it is.

Ch’ing-lish is currently playing at the Longacre Theater: 220 West 48th Street. Manhattan

Take notice of safe: the slippery are very crafty

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The title is a mistranslation of a sign in China, which actually should say “Slippery Road Ahead”, this is one of the many signs that have been mistranslated in China. This sets up the premise of the story in David Henry Hwang’s new comedy Ching’lish, about the perils of mistranslation while doing business in China. These mistranslations display the difficulty of understanding more than just the language but the culture of differing nations. The play attempted to demonstrate that the cultural differences between the two great powers, America and China, are still vast.

Gary Wilmes stars as Daniel Cavanaugh who has arrived in a small city in China named Guiyang. Daniel attempts to get the contract to make the signs for the new cultural center in Guiyang. Along the way Wilmes falls in love with Xi Yan, performed by Jennifer Lim, hires a business consultant Peter Timms, acted by Stephen Pucci. Throughout the play the audience slowly discerns that these characters all have their own secret agenda. Like how Xi Yan, only helps Daniel so that she can help her husband’s career. Also, Peter is not really a business consultant but only an English teacher. Even Daniel who appears to be a good man hid the fact that he worked in Enron.

Daniel’s interactions with the natives are the funniest scenes because of the problem they have with communication. The mistranslations during the business meeting scenes were very entertaining, especially with the incompetent translators. I thought that the character development of Xi Yan and Peter allowed me to empathize and comprehend their characters. Timms pretended to be a business consultant because I felt he wanted to feel useful because he was beginning to feel insignificant. Timms says that back when he first came the fact that he could speak Chinese so well amazed the locals but now there are dozens of westerners that speak Chinese. Timms represents the older era of China. His love for old Chinese operas and his story about the past demonstrates how much he misses the past and really feels out of place in the modern era. Hwang uses Timms to illustrate how China has begun to move towards a more modern era by having him run out to be arrested with Minister Cai (Larry Lei Zhang) towards the end of the play.  Timms and Zhang’s arrest displays that China has completely moved away from the old age into the modern age.

Xi Yan the vice minister of culture, plays the love interest in this play. Xi Yan helps Cavanaugh get the contract for the signage but her motive was not just for the sake of Cavanaugh. She only helps Cavanaugh because by helping him she helps her husband, a husband whom she has said she does not love. The complexity of the relationship among the Chinese is shown when Xi says that she doesn’t love her husband but still helps him to get a promotion.  Although she appeals to Cavanaugh saying that the affair part was for her, Xi’s other actions make it hard to believe her. I think that she cannot be believed because her other actions lead me to believe that she is a liar and would do anything to help her husband.

It seems to me that director Leigh Silverman has encouraged her actors to emphasize their emotions through body language and facial expressions. This could be because a large part of this play is in mandarin. In the scene with prosecutor Li (Angela Lin) and Judge Xu Geming (Johnny Wu) when Daniel confesses that he uses to work for Enron, Li and Xu are delighted. During this scene the expressions of prosecutor Li and judge Xu seemed overtly stressed, especially some of their laughing.

David Korin’s revolving sets was very nice touch because they transformed quickly. This set design really gave a feeling of a full city with offices, restaurants, and hotels. The revolving set is sometimes a little confusing with the set changing and actors running across the set. This goes hand in hand with the play, where the stark differences between the cultures that are shown and sometimes the troublesome problems of communicating. David Henry Hwang does a great job with Ching’lish, which is a very funny play but also has real depth to it.

In Need of Catharsis

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What function goes unfulfilled by a colony of seismic wooden doors? The set design of the Metropolitan Opera’s production of “Il Barbiere di Siviglia” imagines and utilizes nearly every arrangement of a collective of panel doors to demarcate the streets of Seville and the estate of Doctor Bartolo – especially the gmsreat room and Rosina’s bedroom. Bereft of inventiveness, the sets appear forced, a means of cutting corners for an otherwise prodigal production. The absence of a substantial set is overshadowed by the lukewarm acoustics and uninspired performances of the majority, apart from those of Rodion Pogossov, as Figaro, and Rob Besserer, as Ambrogio.
Perceivably fifteen feet tall, the doors dwarf the singers and are among the first of a series of aggrandized, balloon props. Extras oscillate about the stage and maneuver the doors to form either a line, to signify a room, or a zigzag, to signify the snaking streets of Seville. These inorganic movements distract from the flow of the opera and sometimes come across as clumsy or, conversely, highly-routinized and overdone. The doors prove auspicious, however, as a prudent means of entrance and escape; singers latch onto a door, twirl about for a few moments, secure the door in a new location, and promptly exit the stage.
In line with the sensationalist motif, Figaro makes his sedentary debut atop a wagon nearly twice his height. The wagon houses Figaro’s grooming supplies, hand mirrors, and sundry hairpieces. Like the wagon, Pogossov is larger than life; his animated and effervescent character enlivens the comatose crowd.
Early in the second act, Figaro adopts a new profession, interloper, and tiptoes into Bartolo’s great room where Count Almaviva (Javier Camarena) gives Rosina (Isabel Leonard) a music lesson. Unbeknownst to Bartolo (Maurizio Muraro), Figaro assumes Rosina’s place on stage. Figaro then extends his arm, much to the delight of Bartolo, who greedily smothers it with kisses. Pogossov’s facial expressions mimic those of a festive schoolgirl and his posture dips ever so slightly. Muffled laughs circle the room as Figaro allows the charade to continue, ultimately to the embarrassment of Bartolo. Undeterred by the homoerotic overtones, Pogossov delivers a charismatic burst of comedy that ripples through the audience and engenders pandemic applause.
Dimwitted and maladroit, Ambrogio challenges Figaro as the opera’s comedic headmaster. Ambrogio leisurely wheels a cart of pumpkins across stage, initially unaware of the looming and prodigious anvil. Within moments, the anvil crushes the cart and Ambrogio falters offstage like a tumbleweed in the Gobi Desert. Bessemer’s exaggerated movements heighten the hilarity of the occasion. He later falls asleep amidst a passionate duet between Bartolo and the Count. Bessemer’s bobbing head, limp posture, and buckled toes validate his pretense. A subsequent, unanticipated outcry carries a shrill, vexing tone that startles his on-stage companions, yet proves endearingly comical.
In terms of vocal intensity, each singer meets the bare minimum. Leonard fulfills her duties as Rosina, singing in pleasant pitch and sweeping across the stage effortlessly. Her arias, however, lack the impulsion of coloratura soprano Beverly Sills. Singing “Una Voce Poco Fa,” Sills embellishes the aria with fervent gestures and robust vocals, unlike mezzo-soprano Leonard, who converges on corporally expressed interpretation, yet practices a subdued, less ostentatious vocal arrangement.
Camarena also underwhelms with censored vocals throughout and a deferred, ephemeral incandescence at the opera’s close. As a tenor, Camarena’s regnant flashes are few and far between. He satisfies the role of Count Almaviva, but lacks the soul or life that the name suggests. Only in his final aria does Camarena arise from dormancy, reach an operatic climax, and deliver an impassioned rendition.
Void of vocal audacity, innovative sets, and a general symbiosis, the production marches on torpidly and unenthusiastically; it flickers like a candle without a wick. The only saving grace is Pogossov, though he cannot mobilize the relief efforts necessary to salvage the show.

OPERA REVISION!

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Can I Get A Refund?

By Jessica Lin

 Reproductions of Rossini’s operas are trendy all over the world. The Barber of Seville is one of Rossini’s best comedic operas. A well-courted lady, Rosina, locked in a house by her guardian Dr. Bartolo who wants to marry her, and a disguised Count of Almaviva must overcome obstacles to unite their love. They are aided by the trusted and reliable help of the city’s barber, Figaro, starring Rodion Pogossov, a witty character with connections all over Seville. Bartlett Sher’s production of The Barber of Seville is performed in Italian at the Met Opera in Lincoln Center.

 As a first-timer, the opera of The Barber of Seville was a decent but not an extravagant performance. The female lead Isabel Leonard, as Rosina, delivered a slightly disappointing aria. Perhaps I am guilty of first watching two extremely well sung online clips of Rosina’s aria, but Leonard simply did not compare. While she was sweet and soft, this Rosina was unable to display the turning point of her character where she changes from an obedient lady to a rebellious lady because of love. Leonard’s voice was steady and soft throughout without much noticeable modification into a bold and strong voice when she reached the turning point of her aria. The rest of the cast followed in similar manner. Bartolo, played by John Del Carlo, held a deep but un-projected voice, making it difficult to hear him at times.

 Set designer Michael Yeargan enlivens the stage. Transition in set design was smooth and consistent. The stage was charming in its simplicity, consisting mostly of several moving doors. It assisted in adding a comedic touch sending the audience into several chuckles; when Figaro, the barber of Seville, knocked on one of the doors it slightly opened and a guitar automatically popped out through the crack to him as if appearing by his wish. A live tamed donkey was even brought on stage and fed carrots by the cast! Figaro’s ‘barber shop’ served multiple purposes, which he rode in on during his opening scene.

 The traditional approach in costumes was no surprise – the cast consisted of dull colors in red, orange, yellow, and brown. The starring lady, however, wore a blue dress and pink dress that were appealing to the eye.

 Much of the opera depended on Dr. Bartolo’s servant, Ambrogio, to entertain its audience. The comedy of the opera relied on the clumsiness and sleepiness of Ambrogio – he constantly stumbles over things, falls on the floor, and is the helpless victim of unfortunate events. 

 The experience was partially enjoyable to say the very least. But this enjoyment was more drawn in by the atmosphere and environment of the theater than the opera itself; the cast desires slightly more charm and spark.

 

Misunderstandings of Cultures in Ch’ing∙lish

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David Henry Hwang’s Ch’ing∙lish is a comedy playing at the Longacre Theatre. Leigh Silverman directs this spectacular show. The way this play touches on the subject of cultural differences will keep you laughing for most of the two hour performance. It originally premiered on June 18, 2011 in Chicago at the Goodman Theatre and came to Broadway in October.

Hwang impeccably relates as many aspects of the story as he can to the subject of cultural differences. The play is about an American businessman attempting to do business in China. Business is about coming to agreements and successes or failures. This fits with the theme of successes and failures in interactions between cultures. Daniel Cavanaugh, the main character, runs a sign business. This is significant to the play because signs are a major form of communication in today’s world and there have been many mistranslations of signs. A few of these mistranslations are used in the play to add a comical element to the subject.

Hwang refers to the Enron scandal, a well-known event related to business ethics, to show the reactions of two cultures to one event. Cavanaugh goes to China for business because he was involved in the Enron scandal. It turns out that, in China, his involvement in Enron was actually viewed as a good thing. To the Chinese, it is believed that the ability to cause a scandal that large requires a great amount of skill. This shows the way different cultures can view things in extremely different ways.

The character of Daniel Cavanaugh is played by Gary Wilmes. His portrayal of the character that has been unsuccessful in all areas of his life is believable. He convincingly conveys the feelings of a man who has been unsuccessful in his work in his home country, has an unhappy marriage, and is attempting to start fresh in a new country that he does not fully understand.

Jennifer Lim plays the character of Xi Yan, a working woman that is unhappy with but committed to her marriage. Lim’s character works for Minister Cai Guoliang in the beginning of the play and is unhappily married to a judge. She has an affair with Daniel Canvanaugh as an escape from her marriage but also to help her husband get ahead. Lim portrays the character perfectly, with the right combination of rebellion, loyalty, and deceitfulness without ever seeming to realize that her actions may appear absurd to others. Her actions, which can seem absurd and contradictory to people of other cultures but absolutely normal to her, add to the theme in a way that is very funny.

They play even touches on the differences within a changing culture. The characters of Peter Timms and Minister Cai Guoliang represent an older Chinese culture that is on its way out. This symbolic meaning is present when Cai Guoliang is removed from his position and Peter supports him. These two men followed an outdated way of doing things and were left behind as a result. Peter Timms is played by Stephen Pucci and Minister Cai Guoliang is played by Larry Lei Zhang. Pucci’s depiction of his character provides a great representation of the mix of different cultures and different period. His character is a man who went from England to China, where he learned and adapted to the culture, which then changed. His emotions, loyalty, and outbursts are all very believable and add to his character as well as the meaning of the play. Zhang’s portrayal feels genuine and accurate as well. He seems to be more connected with more traditional methods of doing things. He typically gives jobs to people he is related to knows well. In addition, he appears to always want to do his duty. These characters help to show that cultural differences can be frustrating and can even exist within an evolving culture.

The sets for the play, which were designed by David Korins, felt real and accurate. They transitioned quickly and helped with the understanding of the play. I could understand, where the characters were and how their location impacted their behavior. For example, the hotel room depicted in the stage added to the believability of David Cavanaugh and Xi Yan’s private actions, such as their affair and arguments.

Overall, the performance of the play is very entertaining and thoroughly supports its message. Personally, after watching this remarkably amusing manifestation of cultural differences, I believed that it is best not to take these differences too seriously. Misunderstandings are inevitable when people of very different cultures interact and Ch’ing∙lish proves that it simply laughing them off can be a good way to deal with them.

How To Start Business In China

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Earn a few pointers about starting business in China by investing some time and money to watch the play Ch’ingŸlish, by David Henry Hwang! Hwang creatively fabricates a story of an American businessman venturing to expand his company to Guiyang, China. Leigh Silverman successfully directs Ch’ingŸlish, with the help of the actors and cast behind the scenes, to humorously portray the importance relationships have in China, especially in business.

Lead actor Gary Wilmes starts off the play with a monologue about China’s rapid development. He takes this time to mold into his character, Daniel Cavanaugh. His directness with the audience sets an interactive mood, misleading me to think that he was a narrator of the play. His laidback joking attitude fits into the comedic atmosphere he creates as he explains language’s effect on China’s growth, proving his point with the help of Jeff Sugg and Shawn Duan’s projection of mistranslated Chinese signs ranging from bathroom signs to navigational signs, causing an eruption of laughter. However, his demeanor swiftly changes when the curtains rise signaling the beginning of his story.

Throughout Ch’ingŸlish, Wilmes never loses character as an American with no knowledge of Chinese culture or language. Even though he would have understood the Chinese being spoken from countless rehearsals, he keeps me captivated the whole time. His hand motions convey his frustration of the language barrier, while his strained voice illustrates confusion, with hints of angst and love. Wilmes sets a pace for himself according to his character, but manages to flow along with the other actors.

Cavanaugh’s business consultant and translator for Cavanaugh, Peter Timms, played by Stephen Pucci surprises me as he suddenly speaks Chinese. His acting runs smoothly, blending in with Chinese culture that is advised by Joanna C. Lee and Ken Smith. Pucci’s Mandarin Chinese streams out of him like it’s his first language. He explains the importance of “Guan Xi” to Daniel, attempting to illustrate his knowledge of business in China. He manages to conjure up a deal with Cavanaugh to become his business consultant. Timms holds an aura of mischief as he translates some parts of business discussions for Cavanaugh, holding back other information to him. However, Candace Chong’s translations on a subtitle screen provide the audience with all the information of what is happening. This provides dramatic irony, as the audience understands what is going on yet some of the characters do not, giving a humorous effect.

With Pucci’s character, we are able to identify the importance of relationship in China. He pushes the story into motion by arranging for business meetings to get Cavanaugh into the business industry. He helps him enter business with Minister Cai Guoliang, played by Larry Lei Zhang. Timms education of Mandarin Chinese leaves Cavanaugh clueless more than half the time during the meetings, generating laughter from viewers. Nonetheless, the mystery behind Minister Zhang and Timms becomes the base of relationships between a potential business partnership, bringing together the entire play.

Jennifer Lim does a wonderful job playing Xi Yan, a strict businesswoman, yet something more. Xi Yan leads a double life that illustrates the extent relationship plays in China. Lim’s emotions are spot on, being stoic, yet melting into freedom during her stress relievers. Her sharp Chinese tone displays her authority, blending well with her character. Xi Yan becomes Daniel Cavanaugh’s fairy godmother in a way as she helps him overcome his obstacle, which is not language, but his relationship with Minister Zhang. Lim does an excellent job conforming to her Asian ethnicity, providing the audience insight on Chinese culture and affiliations between people and reputation.

Even with the entire cast’s fantastic acting, the whole production would not have been as engaging as it were without the set by David Korins. Korins provides simple, clean simplicity of the sets hold hints of China. He sets the scene that makes you feel you have entered China, first with the Chinese restaurant and then with the simple, neat business room furnished with a painting demonstrating Chinese brush strokes. The simplicity of the set allows the audience to concentrate on the actors, while still taking note of the scene it takes place in.

The extent relationship plays in China and one’s understanding illustrate the importance of reputation and affiliation as well. Ranks and names are brought out to the open and manipulated to bend in favor of Cavanaugh, as well as other characters. To unravel the mysteries behind business in China, I suggest you see it first hand before flying half way across the world!

Refreshing Revival of a Classic Piece

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The Metropolitan Opera’s revival of Rossini’s masterpiece “Il Baribiere di Siviglia” is refreshing and features an exciting cast directed with near perfection.

Most notably, Mr. Sher’s production reinterprets the character of Figaro to a new and exciting level. This Figaro wasn’t the happy-go-lucky charmer found in the original libretto. Instead, this was a shrewd businessman thriving in an age of secrets. He made his entrance on an eccentric and elaborate wagon that was curiously drawn by a live mule and surrounded by a platoon of besotted women. The oversized and versatile wagon was aptly symbolic of Figaro’s keen and opportunistic business sense. Rodion Pogossov, who is sharing the role with Peter Mattei delivers the performance in a powerful baritone befitting this version of the barber.

Isabel Leonard’s performance as Rosina was inspired and aroused sympathy for the poor, young girl locked up by her guardian. The softer Rosina was unconvincing as the viper during “Una voce poca fa” but the rest of the opera was served well by this interpretation of the character. Ms. Leonard’s soft, less than powerful voice was perfect for the emotional parts like the aria she sings during her fake music lesson with the Count.

Tenor Javier Camarena was charming and pleasant as Count Almaviva. Mr. Camanera’s Count was no swashbuckling rake seducing innocent Rosina with his smooth confidence. Instead, he was quietly portrayed as a frustrated young man in love. Beaumarchais’ play and the original libretto give the sense that the Count is a suave player. This production’s slightly different interpretation wasn’t disconcerting and in fact complimented Isabel Leonard’s cool and composed presence as Rosina.

The real show stealer however were bass-baritone Maurizio Muraro, who played Dr. Bartolo. His powerful voice projected well and he captured the pompous and ignorant nature of Dr. Bartolo to perfection. Dr. Bartolo and his servant, Abramagio drew the most laughs of the evening. The bass Paata Burchuladze, who played Don Basilio, added just the right touch of slyness to the character. His duet with Muraro’s Dr. Bartolo glorifying slander was one of the better parts of the evening.

The set, designed by Michael Yeargan was mostly composed of an ensemble of intriguing, movable doors that weren’t so innovative in their design as in the way they were utilized. The doors were combined and separated several times to create different impressions – a street one moment or Dr. Bartholo’s house the next. The characters moved around these doors and some potted trees placed strategically to facilitate the plot. The minimalistic design style augmented well the light and tight tone of this revival. Costume Designer Catherine Zuber stayed true to the period in costume design and Christopher Akerlind complimented the set design with his innovative lighting.

The only discordant note in the cast came from Jennifer Check, who played the maid Berta. Ms. Check was too strong a performer to play the role of the relatively unimportant maid and the consequent emphasis placed on Berta as a bow to Ms. Check’s caliber made the character seem contrived. Her aria, “Il vecchiotto cerca moglie,” while brilliantly performed, was disproportionately long and distracted from the otherwise tightly paced plot.

The orchestra took a backseat to the cast as conductor Maurizio Benini’s ensemble failed to add anything to the experience. It became necessary at certain points to consciously remind oneself of the music. The situation wasn’t helped by the added walkway in front of the pit where a lot of action occurred. Especially in these scenes when the actors sang from the area in front of the pit, the music became a nonentity. The lackluster music from the pit seemed to completely disappear at times and if it weren’t for the impressive singing, the production would have fallen flat.

In all, it was an elegant evening of Opera as the cast brought to life a refreshing and polished Barber of Seville.

Bartlett Sher’s production of Il Barbiere di Siviglia will be performed at the Matropolitan Opera through February 18th. For tickets call (212) 362-6000 or visit metopera.org

The Barber of Seville Becomes A Matchmaker

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Know Beaumarchais’ play of The Barber of Seville? Yes? No? Well regardless of your answer, the opera version by Rossini, showing at the Metropolitan Opera, is a must see! A simple and creative set designed by Michael Yeargan, blinding lighting by Christopher Akerlind, smooth on key music conducted by Maurizio Benini, and an explosion of pizzazz by the main cast, as well as supporting characters, brew up a wonderful production of Il Barbiere di Siviglia by Bartlett Sher.

Yeargan’s cleverly designed set consisted mainly of ten creamy beige colored doors, giving off an antique feel to blend in with the time period in Seville. Easy on the eyes, these doors allowed smooth transformations and transitioning of scenes throughout the opera, from outside Dr. Bartolo’s house to inside his house. To enhance the set, decorative props were brought out fluidly by the supporting cast twirling around the stage with props like the orange trees, which did not hold much significance until they were used to provide comedic relief. An obnoxiously large anvil slowly lowered in the background at the end of Act I was extremely out of place. It was a distraction when the main cast was singing, but gave the audience quite a laugh. Overall, the universal set was intelligently created and did its’ job in creating the different scenarios.

However, this set would not be much without the help of Christopher Akerlind’s lighting. Akerlind did a terrific job with the lighting as it set the mood for the scenes and created a sense of time, such as the dim lights at the beginning when Count Almaviva stands under Rosina’s balcony with a large group. The dim lights and the glowing light from Rosina’s room created a romantic mood and indicated nightfall. The only flaw of Akerlind’s work throughout the opera was the blinding bright light that shone over the whole auditorium as the backdrop rose. It did not seem to have any significance to what was occurring during the opera, besides possibly indicating that the intermission was nearing. Nonetheless in Act Two, the dark gray lighting, with flashes of white to make lightning, perfectly reenacted stormy weather and made up for the blinding light.

Conducting this opera was Benini, who started out his career with Rossini’s Il Signor Bruschino. Debuting with a Rossini opera and having conducted another one of Rossini’s works, Zelmira, Benini has a great sense of Rossini’s style. This would contribute to his wonderful conducting Wednesday evening as the orchestra played smoothly along with the main cast. The music fit the scenarios and mood throughout the opera. The orchestra did a wonderful job playing to support the voices of the singers with dynamics that followed the singers soothingly soft or determinedly loud lyrics.

What had really brought out the whole opera was the main cast. With Javier Camarena playing Count Almaviva, his smooth velvety voice in “Ecco, ridente in cielo” captured me as it conveyed his love for Rosina, played by Isabel Leonard. Rosina’s sweet voice in “Una voce poco fa” displayed the perfect image of young maiden imprisoned in her home, yet was powerful at the right parts to show her strong will to break away from her guardian, Dr. Bartolo. Also, the refreshing flow of Leonard’s voice perfectly suits Rosina who has fallen in love for the first time. On the other hand, Maurizio Muraro’s overpowering voice in  “A un dottor della mia sorta,” suits Dr. Bartolo with an authoritative power as he entraps Rosina in his house and plots to marry her against her will. These three singers formed the love triangle of the opera and did an excellent job singing their roles as they gave the feeling that they were not just characters, but real people in love.

With all these wonderful attributes combined, Il Barbiere di Siviglia was a light airy romantic opera, half filled with comedy. A live donkey on stage, a falling anvil, and a surprising present from Figaro, the opera is captivating and humorous. This opera is a bang for your buck, literally!