Review: Mr. Shi and His Lover
iPhoto caption: Jordan Cheng in Mr. Shi and His Lover (Macau 2013). Photo courtesy of Macau Experimental Theatre
Mr. Shi and His Lover
Tarragon Theatre
By Wong Teng Chi and Njo Kong Kie. Directed by Tam Chi Chun. Composed by Njo Kong Kie. At Tarragon Theatre. Runs until December 17.
How is it possible for a couple to have a passionate affair for twenty years where the man doesn’t know his partner is male until it is startlingly revealed? This is one of the questions examined in this exquisite production of Mr. Shi and His Lover.
This piece of music theatre—a blend between a play and an opera—is based on a true story from the 1980s. Bernard Boursicot (Derek Kwan) is a French diplomat stationed in China. Shi Pei Pu (Jordan Cheng) is an elegant opera singer who, for his entire career with the Peking Opera, performed women’s roles to perfection. Boursicot and Shi, dressed as a woman, meet, fall in love, and begin a relationship that is physical and emotional. In a turn of political events, it comes out that Shi is a man, and had kept up his false image to perfect his “performance” and perhaps please Boursicot.
How is that possible, one might ask? Because of shyness and an adherence to Chinese tradition, Shi never took his clothes in front of Boursicot and insisted they made love in the dark.
This real-life story also formed the basis of the play M. Butterfly, which opened on Broadway about thirty years ago. Interestingly there is a revival of M. Butterfly on Broadway now. I saw it last weekend. It’s dreadful.
Fortunately for us, Mr. Shi and His Lover is absolutely stunning to look at, provocative, and artful in every single way.
Playwright Wong Teng Chi presents the work in seven distinct scenes that reflect on love, identity, and achieving balance in one’s life. Composer Njo Kong Kie uses a combination of musical influences from Chinese opera to Western music, much of it sung by Kwan and Cheng, to augment the storytelling. The entire production is performed in Mandarin with English subtitles, which are clear in their translation and easy to read.
The space is minimalist, making it all the more elegant. There are two beautiful Persian rugs on the floor. There is a leather chair centre stage, where Shi and Boursicot occasionally sit, as if being interrogated, revealing parts of their lives. A formal Chinese opera robe hangs stage right. A piano sits on one side of the stage; a marimba and Chinese percussion on the other. All the music comes from these few instruments. These few set pieces and props create a world of elegance.
Boursicot and Shi wear beautiful suits and ties. Shi, ever aspiring to the feminine, incorporates a more languid walk and delicacy when he sits, placing his hands one on top of the other on his knees. Both men sing beautifully, sucking us into the moments they are creating. When Shi puts on the opera robe to perform, he is mesmerizing.
If there is another star in this production it’s Gabriel Fung Kwok Kee, the lighting designer. The mood that’s set is stark and eerie, evocative of a world hiding secrets, and so artistic it was breathtaking. Often, while one of the performers was centre stage, the other was upstage, half of him illuminated, the rest in shadow, as if he was hiding, or eavesdropping.
This production was a perfect melding of performance, design, music, and direction. Compelling story. Stunningly told.
For tickets or more information, click here.
To read actor Derek Kwan’s thoughts on language, music, and performance, click here.
Lynn Slotkin
Lynn is the former theatre critic for Intermission, and currently writes reviews on her blog The Slotkin Letter. She also does theatre reviews, interviews, and commentary for CIUT Friday Morning (89.5 FM). She was a theatre reviewer for CBC's Here and Now for ten years. On average, she sees 280 shows a year.
LEARN MORE
iPhoto caption: Photo by Emily Cooper.
REVIEW: Theatre Under the Stars puts a compelling spin on Cats
In the end, Cats left me puzzled, perplexed, and absolutely buzzing. Did I ever learn what Jellicle means? No. Did I have a great time? Absolutely.
iPhoto caption: Photos courtesy of the productions photographed. From L-R, top to bottom: 86 Me, Bus Stop, Rosamund, 1 Santosh Santosh 2 Go, Far-Flung Peoples, Death of a Starman, See You Tomorrow, Before We Go, and Gulp.
Toronto Fringe’s New Young Reviewers 2024 | Round Two
The second round of reviews from the Toronto Fringe's New Young Reviewers program is here!
iPhoto caption: Photo by Dahlia Katz.
REVIEW: The Last Timbit is a surprisingly charming commercial gem
The Last Timbit, a show of snow and sweets, had a limited run at the Elgin Theatre in June and is getting a streaming release on Crave on August 12. I, for one, am more than curious to see how a wider audience will react.
iPhoto caption: Photo by JVL Photography.
REVIEW: An unabashedly feminist Macbeth hits all the right notes in Ottawa
Kate Smith's pointed interpretation of the classic tragedy is a definite highlight and forecasts riveting things sure to be in store for Fools’ future programming.
iPhoto caption: Photos courtesy of the productions photographed. From L-R, top to bottom: The Apartment, MONKS, the bluffs, Colonial Circus, Rat Academy, Remembrance, Koli Kari, Escape From Toronto, and Sheila The Musical.
Toronto Fringe’s New Young Reviewers 2024 | Round One
The first round of reviews from the Toronto Fringe's New Young Reviewers program is here!
iPhoto caption: Photo courtesy of Lighthouse Festival Theatre.
REVIEW: Lighthouse Theatre brings haunting edge to Mary’s Wedding
If you, like me, enjoy touching tales of love and loss, then you’ll be happy you saw Mary’s Wedding, even if you leave in tears.
iPhoto caption: Marcel Stewart, Dan Mousseau, Christef Desir, Alex Bulmer, Shakura Dickson in The Story. Photo by Neil Silcox
It was frigid the night I saw the production, and when you are freezing and can’t feel your fingers or toes, time-wasting shenanigans wear thin.
iPhoto caption: Lena Maripuu, Graham Conway, and Peter Pan ensemble. Photo by Nicholas Porteous
Joy to the world—the most inventive, lively, whimsical production of Peter Pan has arrived for the holidays!
iPhoto caption: Robyn Stevan in The Mess. Photo by Dahlia Katz
Co-creators Mikaela Davies and Polly Phokeev have devised a short, complex, layered story of how the mess a person creates can affect those around them.
iPhoto caption: Company in the Grand Theatre's production of A Christmas Carol. Photo by Claus Andersen
Reviews: A Christmas Carol (x2)
Reviews of two productions of A Christmas Carol—Ross Petty Productions and the Grand Theatre, in London, Ont.—that couldn’t be more different.
iPhoto caption: David Schurmann and Carly Street in Heisenberg. Photo by Cylla von Tiedemann
Of the three productions I’ve seen of Heisenberg—on Broadway in New York, the West End in London, and here in Toronto—this one is the best.
Comments