“Wuxia – a bold creation for the stage”

Reviewer: Beverly Yuen
Performance: 31 March 2015

Publicised as the first wuxia (martial chivalry) stage play in Singapore, Legends of the Southern Arch marks The Theatre Practice’s 50^th anniversary. The production brings together different generations of established theatre practitioners to create an imaginary pugilistic world. The story essentially focuses on the pursuit of a secret manual hidden under the Southern Arch.

It is a bold attempt to create such a large-scale action-based production which includes the use of wire-work acrobatics with main cast members who are not formally trained in martial arts. While the choreography of the fight scenes is well executed, the fight techniques become flat and predictable as the show progresses. Instead of placing huge emphasis on the fight sequences, the playwright (Liu Xiaoyi) and director (Kuo Jian Hong) could have tapped on the acting skills of the cast to push forward a more emotionally-driven plot.

Despite my misgivings, kudos should be given to the cast members for their commitment and effort in delivering the complicated fight moves and the poetic Mandarin. Liu Xiaoyi is especially agile and dynamic as the protagonist Shi Buqiong. He moves in nimble steps with a weightless quality throughout the piece, convincingly portraying one who has mastered “qing gong” (the skill of defying gravity). I especially enjoy his scenes with Li Xie who plays the role of female ‘avenger’ Wu Duya, also Buqiong’s aunt. Their scenes are executed with humour and great chemistry, all this in tandem with the sharp and lively exchanges of witty lines.

The set designed by Wong Chee Wai is both visually appealing and functional. The bamboo forest is a strong visual metaphor in the production, which presents the binary oppositions of fight and peace; destruction and growth. The forest is significant in the protagonist’s journey— it is where romance, fear, death, apprenticeship and epiphany take place.

In cinematic language, camera work and editing makes it easier to create engaging fight sequences with actors who are not experts in martial arts. On stage, the limitation of martial arts skills are exposed even with the use of skillful choreography and stage effects. The wired fight sequences come across as either comical or mannered. While the play presents a great potential in creating a fantasy world for the audience with its stunning costumes and aesthetic lighting and set designs, it has not adequately transported the audience to the realm of the make-believe.

Overall, it is a brave endeavor by The Theatre Practice to merge the frameworks of an essentially cinematic genre with theatre. The spirit of exploration and innovation makes it easy to overlook the flaws in the production.

“The Curse of Invincibility is Solitude”

Reviewer: Isaac Lim
Performance: 28 March 2015

The mythical world of Wuxia heroes, holding swords and flying through the air, is often seen in Chinese movies. Probably for the first time, we see it on the Singapore stage. The Theatre Practice courageously presents Legends of the Southern Arch at the Drama Centre Theatre: a valiant attempt to bring the Wuxia world “live”.

Legends is certainly a most exciting battle. Gathering more than a dozen actors from the local Mandarin theatre scene, the stage is poised for a series of acting show-downs.

Written by Liu Xiaoyi, Legends centers on two rival sects in their fight at the Nantian Arch, in a bid to rule the world. The challenge happens once in sixty years, and the show travels back and forth in time to tell of the stories between three generations of members of the sects. There is romantic love, familial tie, violence and bloodshed.

Liu also stars as the lead Shi Buqiong, making one wonder if there is any narcissism or nepotism involved. Newcomer Jodi Chan shines as the co-lead Wu Qiaoer, the daughter of Wu Duya (Li Xie) and Nangong Xian (Nelson Chia), who finds out the true identity of her father mid-way through the show. In true  Wuxia melodrama fashion, she kills him.

The show is peppered with many scenes of acrobatics and swordfights, choreographed by Gordon Choy. This is complemented by exciting sound effects designed by Sandra Tay. The flaw is in the execution: it requires better precision to match the action on stage. Several stunning sets and set pieces, designed by Wong Chee Wai, accompanied by lighting designed by Dorothy Png, created a beautiful stage for the battles.

The plot structure, with its open time and space concept, is rather weak and confusing. The many side characters added little to enhance the narrative. While this reviewer applauds Liu for his creativity in coming out with an interesting range of medicines, poisons, secret manuals, weapons and martial art forms, these ‘names’ are never fully explored or explained (except in the programme book).

Legends also featured theatre veterans like Goh Guat Kian (as the sometime comedic Dongfang Xie), Johnny Ng (as Muzi Wudi, the reigning leader and main villian) and radio and television veteran Marcus Chin (as Chen Zhaoxue). Credits should also be given to the strong performances by the supporting casts like Hang Qian Chou (as Yanmen Tuo of the Nan Tian sect), Hung Chit Wah (as Lao Yiyi) and Ric Liu (as Kong Xiaoer).

The world of Legends unfortunately has its biggest pitfall in its spoken mandarin. While most of the cast spoke the language fluently, there were several who struggled with localized accents, tore apart the make believe world.

Overall, director Kuo Jian Hong has managed to pull together an impressive team to create a show that is unique and memorable. It is an epic production with an outstanding cast and production team worthy of the 50^th Anniversary of The Theatre Practice.