Review: The Hungry Ghost, The Bush Theatre

As a debut play, Mei Leng Yew has produced a feat of excellence. The Hungry Ghost features a blend of modernity and Chinese mythology so well done that suspending disbelief at the ghost onstage is not even a conscious effort: the ghost feels as real as the main character does.

The script provides the gentle and elegant introduction to cultural specificities that a non-Chinese audience might require to appreciate the context of the action. The structure, based on the traditional East Asian four-act configuration, is well laid out and provides a very satisfying conclusion. The story of the ghost is a particularly touching section, especially to a queer audience member, and, giving as little away as possible, this for me was one of the most affecting moments of the whole production.

Mei Mac demonstrates an astonishing versatility throughout the play, switching in between a Scottish accent, an English accent, a Chinese accent, and Cantonese, sometimes all within ten seconds. As well as her boundless stamina, Mac is an excellent comic actor, with an innate understanding of comedic timing and intonation. Mac and Isabella Wei, who plays the ghost, work together with a beautiful intimacy where movement and personhood passed between them flows as if they really are telepathically linked.

Wei as the ghost begins as an expression of primordial innate humanity made of instinct and impulse and a petulant childishness that is a joy to watch. Her movement, her facial expressions, and her very presence on stage are horrifying and enthralling all at once. Wei contorts herself into a creature worthy of any horror movie with an effortless skill: this is one of the best stagings of body horror I have ever seen. Her screams are otherworldly and spine tingling, and her first appearance, a hand reaching out through the wall, is beautifully uncomfortable to experience.

The set consists of a pine backdrop featuring three integrated cabinets with interchangeable interiors that go from shrine, to window exit, to fridge. This is elegantly executed by designer Yimei Zhao, and adds another layer of visual interest to the story.

The lighting, designed by Cheng Keng, is consistently gorgeous, and particularly effective in the moments when the ghost becomes less human and more monster.

Expertly directed by Ailin Conant, the flow of character and story sweeps the audience through the production elegantly. Jasmine Chiu’s movement direction and Sango Tajima’s intimacy direction are also flawless: the simulation of sex and physicality that passes between the actresses with effortless fluency are choreographed with such perfect skill and precision. This directing team is a tour de force.

There is some over-emphasis of explanatory dialogue that leads to some moments feeling a little laboured, especially when they are not as narratively important. The script needs the smallest amount of trimming to ensure the flow of the production never stutters, and delivery of more functional lines could be subtler to create a greater contrast between the dramatic highs and lows, but these are such minor points in an otherwise excellent show.

Already, I am thinking about booking to see this play again, and I have emphatically recommended it to many friends. It might not be for everybody, but for the many sapphic women who are obsessed with feasting or cannibalism as a metaphor for love, The Hungry Ghost is a must-see. And whilst it may not be aimed specifically at everyone, I do believe that anyone with an open mind and a love for theatre should hail this play as the triumph that it is.

Playwright: Mei Leng Yew

Director: Ailin Conant

Associate Director: Yanni Ng

Designer: Yimei Zhao

Movement Director: Jasmine Chiu

Intimacy Director: Sango Tajima

Lighting Designer: Cheng Keng

Composer and Sound Designer: Carla Ng

The Hungry Ghost plays at the Bush Theatre until Saturday 31 October.