FATE: Figaro, Anticipation, Timing, Everlasting love

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As William Makepeace Thackeray once simply stated, “it is best to love wisely, no doubt; but to love foolishly is better than not to be able to love at all.” The Italian opera, Il Barbiere di Siviglia, produced by Bartlett Sher, not only exhibits a unique portrayal of love but also moved me to tears and laughter, especially with the performers powerful yet harmonious voices. Their expression through song is able to capture the essence and beauty of the opera and left me yearning for more.

Rodion Pogossov, the singer who plays brave Figaro, gives an exceptional performance and brilliantly paints the arrogant, yet clever nature of his character. Meanwhile, Isabel Leonard tactfully displays Rosina as a two-sided individual, by creating an astounding vibrato; which left me in awe. The mezzo-soprano transforms from a timid, obedient young girl into a fierce, rebellious woman in a single aria, “Una voce poco fa,” by fluctuating her tone, pitch, and emotion. Such technique is rather difficult and very impressive, particularly in an Italian opera. The other performers, including Javier Camarena as Count Almaviva, Maurizio Muraro as Dr. Bartolo, and Paata Burchuladze as Don Basilio further enhance the opera with their talented voices and arias.

Meanwhile, as the performers sang, the orchestra and chorus, conducted by Maurizio Benini, connected with me on a deeper level, drawing much attention to the concepts of fate, power and love. In addition, the lighting was spot on- always shining on the right performers are the right time; and even from the back of the orchestra, the performers could be easily heard.

A reoccurring theme that transitions throughout the opera is one of ever-lasting love and a sense of ultimate unity. True love is the core determinant between Count Almaviva and Rosina, with the help of fate and Figaro. Throughout the opera, the Count finds himself disguised as several different people in his attempt to trick Dr. Bartolo and woo over Rosina. However, the cleverness behind all of these schemes always end up originating from the famous Barber of Seville himself, Figaro.

Although the opera moves at a steady and unwavering pace, the production caught me off guard several times by reigniting sparks of interest. One particular example happens when an enormous anvil drops slowly from the ceiling onto a cart of pumpkins, or when an explosive instrument is set off, causing me to jump and anticipate more surprises as I experienced the comedic side of the opera.

Another unique feature of the opera is the set design. Instead of placing much attention to small details and nuances, Michael Yeargan, the set designer, keeps it fairly simplistic drawing focus towards the performers. Interestingly enough, these few doors are very significant to the opera itself and serve as a metaphorical and literal element; the Count tries to open the door to Rosina’s heart, while Rosina literally is locked up behind the doors of Dr. Bartolo’s house.

Approximately three hours and five minutes, this extraordinary and moving opera is being shown at the Metropolitan Opera House. Tickets for February opera showings are already almost sold out! Get them now, on The Metropolitan Opera website, while they last. You cannot miss this wonderful performance, as it will leave your heart fluttering and your mind taking in the truths about fate, power, and everlasting love.

A Comedic Chaos, Equipped with Anvils and Falling Trees

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Anvils, falling trees and lightning strikes in an opera house? Back for the 592nd time at the Metropolitan Opera, Il Barbiere di Siviglia, also known as The Barber of Seville, did not disappoint its viewers.

The opening scene of Il Barbiere di Siviglia with Dr. Bortolo’s servant and the doctor himself tried to be humorous with a bit of slapstick comedy, which told us to expect more comedic relief later in the opera. But the comedic value took a while to arrive. The beginning of the first act was dry; it was mostly just opera singers singing in Italian, with nothing aesthetically pleasing in the background. I glanced around and saw a few people nodding off. As the first act was coming to an end, the comedic feel kicked in. Chaos ensued when almost every singer and supporting singer was on stage for the scene of Count Almaviva’s arrest. An anvil had appeared out of nowhere and was slowly descending on the stage, ready to crush a cart of pumpkins. Such randomness was a comfortable change from all the strict singing. There were no more sleepy, bored people.

Rodion Pogosov, who sang the role of Figaro, replaced Peter Mattei for the night and let his strong baritone voice win over the crowd. Pogosov put on an unforgettable show, singing Figaro’s aria with such emotion and humor. He used the whole stage and jumped from place to place during his aria, allowing the audience to understand that Figaro has many ladies chasing him. Another memorable singer was Maurizio Muraro, who sang the part of Dr. Bartolo. His booming, deep bass voice carried through the whole auditorium, allowing us to hear every note of anger and annoyance he inputs into the character of Dr. Bartolo. Javier Camerena and Isabel Leonard, singing the roles of Count Almaviva and Rosina, respectively, didn’t do too well. Camerena had one golden moment during the whole opera, which was right after he sang his aria. He received a long cheer from the crowd but that was his only moment. Leonard did not play the part of Rosina too well. The character of Rosina is supposed to be one where she starts off obedient but turns rebellious; Leonard did not quite get that across. Her performance was mediocre compared to the strong male leads.

The orchestral pieces were very pleasing to the ear. Benini, the conductor for Il Barbiere di Siviglia, controlled his musicians well, motioning them to speed up their playing when things were chaotic and then retarding the beat later on as the chaos dies down. Each instrument was displayed nicely; you can clearly hear the clarinets being brought out in some parts while in other parts, the flute is more prominent.

I can see why this opera is still running after 592 times. Even though there are some new singers, they do their role justice and put on a good show for us. Il Barbiere di Siviglia is definitely worth seeing; you will have a good laugh with this tame slapstick comedic opera.

 

Ch’ing-lish, the Butchering of Languages

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A Broadway play that is spoken in Mandarin? How will one understand? Even though David Henry Hwang’s Ch’ing-lish is partially spoken in Mandarin, the play is still easy to understand and to follow along with. David Cavanaugh, played by Gary Wilmes, is a businessman trying to sell his sign-making business in Guiyang, China but comes across many problems along the way. Ch’ing-lish paints a clear picture of the cultural differences that are apparent between Asia and the Western world and how many miscommunications and misunderstandings come with that barrier.

Ch’ing-lish opens with Wilmes presenting a PowerPoint for his company. The opening scene could’ve been better; the audience did not know whether or not the play had started or not. Wilmes was not loud enough and the lighting did not emphasize that the center of attention should’ve been on him. After the dry opening, the play starts off strong, introducing the intricate, moving set to us. David Kornis, in charge of scenic design, did a great job on the set design. Audible gasps were heard from the audience when the set smoothly glided in. Accompanied with the Chinese popular culture music that played as it debuted, this should’ve been the opening number. The music was loud and fast-paced, and woke the audience up from the sleepy introduction.

Jennifer Lim embodies the role of Xi Yan the Vice-Minister with power, giving the audience a strong impression of the role her character will play. Xi, a woman that is strong-willed and independent, was a great character to have. Lim’s forced butchering of the English language and the confusion that came with it was the main source of comic relief. The role of Minister Cai Guoliang, played by Larry Lei Zhang, also added a humorous touch to the play. Zhang portrays Guoliang as an airhead, but yet a proud man.

Lim is the strongest actor in Ch’ing-lish, overpowering the skills of Wilmes and Stephen Pucci, who played the role of Peter the teacher. Pucci’s mandarin was impeccable, giving another surprise to the audience. Pucci is actually quite educated in Mandarin, earning a BA in that language. The character of Peter the teacher served as a connection between the two worlds, but also served as a symbol of the hardships that come along with that role. The language barrier is a running theme in Ch’ing-lish.

Ch’ing-lish is a Broadway play that you should definitely experience. One would never expect a play that spoken in Mandarin to be featured on Broadway, making this a rare opportunity that many should take advantage of. The play features new talent, showcasing the emergence of Asian Americans in the field of theater art. The set is also something that you should see –it is one of genius engineering and visual appeal. Ch’ing-lish is a must-see; you should hurry and experience this fresh change.

 

 

Power of the Voice

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Being the first time I attended an opera, The Barber of Seville was one to impress. IT was shown in the Metropolitan Opera on October 19, 2011. Coming with the impression that operas were boring; my opinion changed after watching the performance. Many aspects caught my attention. The orchestra was conducted by Maurizio Benini and was extremely good; they played very well and set the mood and atmosphere for many scenes. The props on the stage were also very interesting, especially the moveable doors. The singers also performed with gusto and grace. The main singers were Javier Camarena, Isabel Leonard, Peter Mettei, and Maurizio Muraro, Count Almaviva, Rosina, Figaro, and Bartholo respectively.

Maurizio Benini conducted the orchestra with charismatic feeling. The orchestra provided the “feel” of every scene. Therefore, a good orchestra is necessary for the enjoyment of the opera. In many scenes, especially where Figaro is cutting Barthalo’s hair, the music made the scene a light hearted and joyous occasion. Benini conducted this particular part with a lot of staccato beats that set an easygoing mood. The orchestra accompanied this scene very well with the happy music to give an overall sense of happiness.

The props can be considered one of the most important things in an opera. Michael Yeargen was the set designer who is credited with creating this amazing set. In this particular one, the props on stage could be moved around to accompany many scenes. The doors may have been one of the props that caught the most attention. They could be moved around to create different settings. Also, they were actual functioning doors, so the singers could interact with them. The doors are a very thoughtful addition to this particular opera. It created a changeable setting that could be adjusted for all the scenes.

The use of trees also caused a comedic response. The trees were used to conceal the singers even though they were clearly not completely concealed by the tree. However, the people not behind the tree were unable to see them even though they were clearly not hidden. This caused a little laughter among the audience. This type of prop added a positive feeling to the scene and kept the viewers more interested.

Another thing the orchestra has to do well in is the accompanying the voices of the singers. Both the music and the singing need to be synchronized in order for optimal enjoyment. There was a scene where Figaro, played by Peter Mettei, sang his part with my pauses. The orchestra highlighted these parts and put more emphasis by pausing the music as well. This makes his singing and overall atmosphere more powerful due to the synchronization.

The voices of the singers are also something that should be noted. The female lead sang by Isabel Leonard, had quite an astonishing performance. Being the only female voice in the opera, her voice had to be distinctive and powerful. She achieved this and definitely gave off the impression that her presence was known. Being the only female, she had to set herself apart from all the other singers. With her flamboyant performance, I appreciated her fantastic voice. Her voice was softer than the men but in a way just as dominating. You knew that her character, Rosina, was proud to be a woman among the other men. Overall, Leonard’s performance really helped the opera achieve its apex.

With many male roles, each male character had to distinguish himself from the others. Figaro, Mattei, can be seen as the funny character. When he is present, the scene usually involves him doing something humorous. Figaro’s acting also contributes greatly to how well he is received by the audience. Count Almaviva’s, Javier Camarena, performance is displayed through his acting. He shows how he loves Rosina in many ways throughout the opera. His performance is reinforced by his voice. He had a solo singing part where he had to hold a note for a long time. This distinguished him from everybody else. Bartholo, sang by Maurizio Muraro, has a dictating walk that shows he is in charge. His conquering presence distinguishes him from everybody else. I can tell with his deeper and prouder stride that Muraro’s character is very serious.

My overall experience with the The Barber of Seville was phenomenal. I greatly enjoyed this particular performance with the singing, set, and music. It changed my perspective of what an opera is. In the future, I will be more likely to attend one due to the positive results of this one. I think the collaborative effort of the orchestra and the singers created an ideal experience. I think that the props also contributed a great deal to the success and helped captivate the audience.

English! You Know It?

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Ch’ing-lish by David Henry Hwang is a play based on the language barriers between cultures. The play is about a businessman who arrives in China in hopes of creating a deal with the minister. Throughout the entire play, Daniel Cavanaugh played by Gary Wilmes, has trouble understanding what everyone says to him. The play’s plot does not seem to be quite interesting as the main goal of the production is to entertain the audience with the translations. Since I understood the Chinese as well as the English, it made the experience a little different from the non-Mandarin speakers. I think the play displayed a fantastic use of the props and set. The lines that were “lost in translation” were quite noteworthy as well. Finally, the actors’ performance was the cherry on the cake.

The set was one of the biggest things that I was intrigued by. The set was constantly changing to accommodate every scene. I liked to watch as the set changed each time the lights dimmed. David Korins was the scenic designer for the play. I think that he did an outstanding job with how he presented each scene and how he transitioned into the next. The use of an elevator impressed me a lot since you would not expect an elevator to be on stage. Even more interesting was how the doors actually worked and it looked like an actual elevator. The spinning of the set also allowed many different locations. I also liked how some actors came in on the moving platforms instead of entering from the sides.

One of the funniest aspects of the play is the text that is “lost in translation.” Candace Chong was in charge of the translations that occur on a screen. The subtitles play a critical part in the humor of the player. Even though I speak Mandarin Chinese, I had a two-sided experience of the play. I can say that it was honestly much funnier understanding it from both sides since I understood many of the misinterpretations. During one part, Gary’s character was asked to pronounce “I love you.” However, in Mandarin Chinese, the way you pronounce a word greatly changes it’s meaning. He mispronounced it many times, which changed, it’s meaning into nonsense.

Since this play is centered on the language, it is extremely important that it is legitimate. Also, I commend the legitimacy of the play as well since many plays “fake” the subtitles to create the humor effect. However, this play was extremely accurate with the translations and didn’t use any of the “fake” subtitles. I can say that the play displayed the language barrier extremely well. Also, it was easily understandable to audience as well. David Henry Hwang, the playwright, definitely captured the amusing aspects of language translation.

Lastly, the actors did an incredibly well job for the play to be a success. Jennifer Lim and Gary Wilmes displayed an extraordinary performance. I have to admit, Jennifer Lim’s performance was quite impressive since she held a large and important role to the story as the minister’s assistant. Gary Wilmes also played his character extremely well as the traveling businessman. His cluelessness of the situation that went on without his knowledge and how he reacts to many of the things that happen truly show that he is immersed in his character. I also liked the performance of Larry Lei Zhang, Minister Cai, since he seemed like a typical authority figure. Last of all, I greatly praise Stephen Pucci, Peter Timms, since he had to be able to speak Mandarin Chinese. He spoke it extremely well with much less of an accent that most Americans that try the language. I’m not sure if he knew how to speak it before or had to learn it for this particular play, though nonetheless his performance with a foreign language is outstanding.

I greatly enjoyed Ch’ing-lish due to the great use of the stage, the legitimacy and hilarity of the language and the performance by the actors. These three things greatly emphasized this play and set it apart from some other plays that I have seen. It captured my attention and continued to interest me. I would much enjoy watching another play by David Henry Hwang.

The Value of a Good Production Team

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I never thought that I would ever be intrigued by an opera; however, boy was I wrong. On Wednesday October 26th I had the opportunity to visit the Met Opera’s performance of Rossini’s Il Barbiere de Seviglia at Lincoln Center. Due to the fact that it was my first opera I did not really know what to expect. However, after a little while I was astonished to witness such an amazing thing. I believe that the director, set designer, and singers effortlessly portrayed the true essence of Rossini’s original opera.

The first thing that caught my attention when the performance began was the way the set designer Michael Yeargen made use of the doors to create the setting of each of the scenes. On one hand, I was really intrigued by the manipulation of the doors because I was surprised to see that such a small thing can go a long way. The production team was able to create intricate set designs using such an ordinary thing. They were able to combine the doors in different ways to give each scene and setting a unique shape and appearance. However, on the other hand, I was also slightly disappointed that they used such a simple thing in order to shape the settings of each and every scene. When I first saw the doors I began to think of the fact that they spent so much time and money in creating the opera, and that in the end they were a little cheap when it came to such an important thing as the design of the set. I believe that the I would have been more intrigued if the production team had spent more time and money in the setting and in creating the scenes as Rossini envisioned them (in the streets of Seville).

As the opera progressed, I noticed that many of the props were used to add meaning to the scenes and to insert humor into the opera. One of the props that really stuck out to me was Figaro’s cart and its enormous size. When they brought out the cart I started to laugh a little bit because in my mind I knew that it represented the whole persona of Figaro. Throughout the opera you can truly see Figaro’s pompousness and arrogance. He believes that everyone relies on and that he is one of the most important people in the city. This fact is represented during Figaro’s “Largo al Factotum” aria. He also believes that he is the cause behind many of the good things that come about during the opera. For instance, towards the end of the opera he attributes the marriage of the Count and Rosina towards his doings.

At the end of the second act the audience erupted into laughter as a giant anvil was dropped down and crushed a wagon of pumpkins. During that scene the soldiers stormed Bartolo’s house after he got into a fight with the Count. Even though it added to the humor of the opera, I just did not understand it. I realize that it was symbolic of the fact that the characters were singing that their heads were hurting as if they were hit by an anvil, but I believe that it took away from the seriousness of the opera. In my opinion, the anvil was unnecessary and was a waste of money. It would have been better if the opera went into intermission with a serious tone. However, instead the production team dropped the anvil and took away from the mood of the performance.

Throughout the opera, Maurizio Benini, the conductor, was able to make use of the music to set the mood of each of the scenes. During the end of the second act, when the soldiers stormed Dr. Bartholo’s house, the tone of the music signaled that something dramatic was about to happen and gave you a sense of what to expect. The music foreshadowed that something significant was about to occur and caught your attention during the important scenes of the opera. The singers were also able to make use of the music to add feelings into their characters. For example, Isabel Leonard, who played Rosina, was able to express her emotions through the music. During her aria “Une voce poco fa,” you could truly see her love and affection for the Count, who she believed was a poor student named Lindoro. Through the music they were able to increase the impact the opera had on you.

Overall, I believe that the production team, including the director, singers, and set designer, did an amazing job at displaying Rossini’s original intentions concerning his opera Il Barbiere de Seviglia. Even though I had a couple of concerns regarding certain aspects of the performance, after all is considered I believe that they did a great job at creating a fun and exciting opera. I would encourage everyone to visit this performance, because it has the ability to change the way you look at opera as a whole.

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.

On Dualism and Duplicity

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David Henry Hwang’s Ch’ing-lish incorporates cultural misunderstanding seamlessly into his play. The introduction flashes a couple of signs lost in translation: “Slip and fall carefully.” Slip and fall carefully seems almost ridiculous because telling someone to hurt himself or herself intentionally and be wary afterwards contradicts the previous statement.

As the first scene slid into place, I noticed that the rotating props and setting indirectly represent the transformation of the characters. The rigid blank walls of the office room represented how filtered and clean everyone behaved. Everyone seems so fake and plastered.

Cavanaugh’s corrupt history shatters the audiences’ preconceived notions of the innocent American businessman in a foreign land. Minister Cai Guo Liang, played by Larry Lei Zhang speaks in an agreeable tone. However the audience will discover this as false later on. Xu Yan, albeit coarse and stern, reveals to be supportive of the proposal for replacing the signs under the American signage. Her cold demeanor shatters as she quickly involves herself in an affair with Daniel Cavanaugh.

Leigh Silverman integrated the running theme of duplicity through careful instruction of the acting. Daniel Cavanaugh expresses his innocence and naivete since he cannot comprehend how the Chinese can transform their personalities abruptly.

Due to David Korins the designer, the duplicity carried onto the wardrobe of the actor’s. Xu Yan’s coat and scarf covered her actual outfit, her true identity. Sometimes, both of her behaviors are “true.” But the contrast ranges so wide apart. One side of Xu Yan wishes to please and fulfill her husband’s wishes. Yet on the other hand, she aims to satisfy her own desires. Jennifer Lim’s expression of these two sides albeit intangible slowly begins to define itself. Xu Yan delves into her emotions and gives the audience a full context of her history, background, and what comprises of her belief, which is a lingering faithfulness to her loved ones. Whether her loyalty belongs to Daniel Cavanaugh or Judge Bing, her husband almost seem irrelevant. The ideal of fraudulence finally translates to Daniel and Teacher Peter.

The transforming set and the fluid characters contribute to a central theme of falsity. The robust performance of Jennifer Lim and Gary Wilmes carry the message of the play. Hwang’ s approach to the clashing cultures reflects something larger than the play itself.

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