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A bold, bewildering, and brilliant theatrical explosion that blends cultural exploration, philosophical musings, and sharp wit into a uniquely captivating journey through British Chinese identity.Summary
Rating
Excellent
I remember seeing a video of a 1967 Jimi Hendrix Experience concert: rows of mostly white faces in pressed suits and cocktail dresses, some furrowing their brows in confusion, others slack-jawed in awe. This audience, probably more familiar with the Beatles, were witnessing a seismic shift in music history. Fast forward to Soho Theatre 2024, where I found myself understanding that second group as I watched Aruhan Galieva’s punk-pop-rap rock riff about stealing a car while high as hell – mouth wide open, not fully comprehending, but utterly captivated by the cultural collision unfolding before me.
The Dao of Unrepresentative British Chinese Experience, written by Daniel York Loh is about the British Chinese experience and seems to be intentionally trying to make reviewing it as humiliating and hard as possible, explicitly making fun of past reviewers and ruthlessly subverting the audience’s expectations at every opportunity.
The plot, to the extent there is one, loosely follows a fictionalised, almost mythical version of York Loh’s life story, presented through interconnected skits and musical numbers. The main storyline involves Cloud (Aruhan Galieva) trying to write the “Definitive British Chinese Story” with guidance from Master Obscure (Melody Chikakane Brown). This premise is questioned within the play itself: What’s the point of such a story? Who is it for? Both Galieva and Brown also portray parts of York Loh’s life, while he himself appears on stage, sometimes as a curious bystander, other times correcting the performers’ portrayal of his story.
The themes of the play are as diverse as the play is self-aware. At its most accessible level, it explores issues of race and racism, belonging, identity, and societal expectations. On a deeper level – though the play undermines this depth by repeatedly labelling itself a “period piece” – it examines societal change, as not long ago rehab was a possible path to a theatre career. Daoism serves as both a philosophical backbone and a subject of scrutiny, with the production demonstrating a nuanced understanding of Daoist concepts while using them as vehicles for both comedy and drama. Recurring motifs include Zhuangzi’s butterfly dream, the significance of De (virtue), and the quest to find and follow the Dao.
The production doesn’t shy away from social commentary, featuring an activist component that simultaneously promotes engagement while critiquing superficial or performative activism. In many ways, the play is as much a meditation on the nature of experimental theatre and audience expectations as it is an exploration of its overt themes. The inclusion of meta-theatrical elements, unreliable narrators, complete disregard for chronological order and other postmodern techniques further complicate any straightforward interpretation. This is highly entertaining, but also highly confusing at points.
Musically, the production is engaging and energetic thanks to the efforts of both the performers and its composer and musical designer, An-Ting 安婷. However, for a self-described “psychedelic gig-theatrical punk pop rap rock riff”, it occasionally feels restrained, particularly in its opening sequences. While I hoped for a volume pushing the limits of the sound system, the relatively subdued approach is perhaps a considerate choice for those in the front row. The set design and visual effects transform the stage seamlessly, shifting from peaceful scenes to psychedelic, nightmarish visions.
Written by: Daniel York Loh
Directed by: Alice Kornitzer, assistant director Valerie Mo
Composer and sound designer: An-Ting 安婷
Produced by: Natalie Chan
The Dao of Unrepresentative British Chinese Experience plays at Soho Theatre until 13 July.
Further information and booking can be found here.
