![](https://www.sardinesmagazine.co.uk/wp-content/uploads/2020/07/2799_1490780138.jpg)
Show: Chinglish
Society: Park Theatre (professional)
Venue: Park 200. Park Theatre, Clifton Terrace, Finsbury Park,London N4 3JP
Credits: by David Henry Hwang. Produced by Tim Johanson Productions in association with Julie Clare Productions, Arion Productions and Park Theatre
Type: Sardines
Author: Chris Abbott
Performance Date: 28/03/2017
Chinglish
Chris Abbott | 29 Mar 2017 10:32am
Photos courtesy Richard Davenport for The Other Richard
Some years ago I was speaking to an audience in the Czech Republic when they suddenly became restless, and within moments they had evicted the assigned translator so that one of the audience could take over; it appeared that the translations were somewhat wayward. That is the basic premise of much of David Henry Hwang’s Chinglish, although within rather more high stakes surroundings and to considerably more comic effect.
US businessman Daniel Cavanaugh is attempting to save his family firm, who sell signage, by getting a deal in a provincial Chinese town. In the role, Gyuri Sarossy manages to combine exasperation, irritation and desperation. As Daniel does not speak Mandarin, he has to reply on the translations provided by a series of state translators, but a teacher from England comes to his rescue, teaching him the lesson he later relays to the audience: “The first rule for doing business in China is also the last. Always bring your own translator.”
Translation, good or bad, is the central focus of the play and all are able to enjoy this through the use of expertly-timed English surtitles whenever Mandarin is being spoken. This all worked very well and the action moved from place to place seamlessly supported by the inventive Rubik’s cube of a set from Tim McQuillen-Wright, with elements folding and unfolding to suggest the locale (though those in the circle were slightly distracted by movement and hands seen behind the bed in some scenes).
As the teacher, Peter, Duncan Harte is perhaps channelling some of his own experiences as a teacher in Shanghai. Anxious to make some money, Peter sets himself up as a business consultant, but soon finds that having language skills may not also enable him to understand the mores of the business world. He does, though, appear to have considerable sway with UK admissions, giving him a hold over a local minister, and I do hope the University mentioned do not object to their part in the story.
Opposite him for much of the evening is Lobo Chan as Cai Guoliang, the minister who is considering the deal on offer. Initially brash and stereotypical, this character develops layers as the play progresses and we see he is a voice from the past, cast adrift in the China of today. It is an appropriately domineering and bombastic performance, well contrasted with the confident Candy Ma as Xi Yan, the austere and svelte representative of the new order who finds an unexpected affinity with Daniel.
Windson Liong is an effective judge and an amusing young relative pulling in favours, and Siu-see Hung and Minhee Yeo contribute telling cameos as translators, waitresses and hotel staff. Andrew Keates’ production provides a very amusing evening, laugh out loud funny in parts, especially in the first half. By the rather slower second half we begin to see the heart of the play, the conflict not between the east and the west but between the old and new order. Cai Guoliang puts on his old uniform, which still fits, and exits singing extracts from Peking Opera with teacher Peter; while Daniel and his ally Xi Yan represent, as she says, the New China.
It is perhaps a more lightweight play than expected but not superficial, and there are real issues raised here, if only towards the end of this piece. What is not in doubt is the enjoyment to be had from watching a highly-skilled bilingual cast having fun with the perils of translation.
- : admin
- : 28/03/2017