UPSTREAM by The Theatre Practice

“Challenged!”

Reviewer: Beverly Yuen
Performance: 14 October 2015

In Upstream, eleven monologues based on personal stories emerged from The Practice Lab, a branch of The Theatre Practice helmed by Liu Xiaoyi which aims at discovering new methodologies and ways of theatre making. I watched six of them, presented by the Group A cast- Darren Guo, Felix Hung Chit-Wah, Lee Qian Yu, Neo Hai Bin, Ric Liu and Zee Wong.

Under The Practice Lab, the cast had gone through the process of experimentation, devising, creating, writing and directing their own monologues, mentored by Liu Xiaoyi. This is indeed a praiseworthy approach to groom talents and explore new methods to present creative works.

Neo explores the tension between personal belief and family expectations through constant reference to one of the Chinese gods, Tua Pek kong which his family worships. Throughout his performance which takes place in the dark, the audience can only see his face and shadow through the use of LED candle light that is shone on his face. He creates a private space that cautiously and progressively reveals his innermost stories, which we secretly peep. Through the effective use of tone and expressions, he is able to engage me in his personal stories which cover his experience in National Service and relationships with the family.

Lee creates an acting proposition which questions the elements of theatre with repetitive lines. One such line is “My seniors once told me: ‘Qian Yu, a good story must have tension’”. While not having overt dramatic elements in her script, she has ironically created a strong sense of absurdity and tension with the seemingly simple and uninteresting lines. The piece takes a humorous peek at the meaninglessness and yet seemingly important facets of life.

Guo uses elements of Chinese face reading to introduce his stories about life in Singapore and Taiwan. His piece brings audience to focus on his face features captured by an iPhone and then projected on a monitor. Through the intensity emitted from his projected facial expressions which are at times distorted, he toys with the subject of illusions and realities in the piece.

Wong, Hung and Liu have taken bold steps in crafting their personal and intimate stories in the monologues which divulge their history of hurt, idiocy and struggle. However, Wong’s deliberate enunciation of lines and Hung’s technical handling of Mandarin texts create distance and formality that alienates the audience from the emotions. While Liu demonstrates a good control of his physical body while relating his stories through movements, his actions become exaggerated and mimicry at times.