Chinese Drama 2011 – Like Shadows

Written by: Stephanie Yeo

Edited by: Jocelyn Yeo

Reality vs fantasy; dreams vs awareness; life vs death. Is there such thing as an “in between” state? These were the issues explored in this year’s eagerly anticipated KE7 Chinese Drama production, Like Shadows <如影随行> , held at the University Cultural Centre (UCC) theatre on the 15th and 16th of February.

On both nights, the tickets were quicky snapped up within 20 minutes of the ticket counter’s opening at 7pm, much to the dismay of some who came to get tickets slightly later. There were also snaking queues which had formed outside the theatre doors, with people wanting to get the best view of the stage.

And what a worthwhile wait that was! Upon entering the theatre, we were greeted with a visual spectacle. A catwalk extended from the stage, reaching all the way to the centre of the stall seats. A lone red-haired figure sat at the end of it, cross-legged and unmoving, garnering many stares from the audience. My gaze then shifted along the catwalk to the stage, where translucent white drapes hung from ceiling to floor. Behind them, there were figures wandering back and forth accompanied by a haunting jazz piece, casting silhouettes of various sizes onto the drapes, as if they were souls walking behind a veil in another dimension. This transformation of the theatre thus set the atmosphere for what was to come later.

YEA! (Wen Qi) sitting still in the middle of the theatre before the start of the show, piquing the curiosity of the audience

At around 8pm, the lights dimmed and the show began. In a nutshell, the story recounts in a series of flashbacks that lead to the tragic ending of a young girl’s life, Zhen Zhen (Yu Di), and her parents- her mother’s (Meng Ru) death and her father’s (Da Qiao) mysterious disappearance (played by Xing Ying and Xiao Bin). The plot is indeed complicated, as the scenes shuttle between past and present. As the story unfolds, secrets about Meng Ru’s past, Zhen Zhen’s mortality (is she actually alive or dead?), and their relationship with other characters in the play are revealed.

Act 1 opens with YEA (Wenqi), an angel-like person who explains that she is neither dead nor alive, but an imaginary being who observes all that happens throughout the course of the play, and thus introduces us to the rest of the story. Act 1 continues to unfurl in a series of anecdotes, from a couple’s frustration with their daughter Lulu, (Anabelle) who seems to bring Zhen Zhen home very often (though they can’t see her and pretend to talk to air around Lulu), to Ji’er’s (Siying) interrogation by police officers about Meng Ru’s death (both ladies were good friends) to a scene at an “angel gateway” disguised as a vehicle repair shop run by Boss (played by our very own KE Press head Collin!), the all-knowing archangel who helps spirits crossover, to Da Qiao’s love-at-first-sight meeting of Meng Ru at the cinema and their date at a Hong Kong café. Act 1 was a light-hearted affair with happy moments of Da Qiao and Meng Ru courting – the couple possessed great chemistry – and hilarious moments thanks to the antics of the Hong Kong café boss played by Yong Chuan.

Don’t mess with the all-knowing Boss (Collin Ho).

Act 2, after the intermission, picks up more pace as the story draws to its climax. More details about Meng Ru’s life in the past are revealed; her husband’s disbelief that she created Hao Fan, her supposed ex-boyfriend, to fill the void in her life and feel loved. Their argument slowly and steadily heats up, from Da Qiao blatantly accusing Meng Ru of being unfaithful (her insistence that Hao Fan is fake falls on deaf ears), to the revelation of Da Qiao’s infidelity. My pulse quickened as the couple reached the peak of their quarrel by bringing themselves to a waterfall clearing. Suddenly in Da Qiao’s fury, he whips out a pistol, points it at his wife and threatens to kill her. Filled with anguish and regret at their crumbling relationship, he ends it all – wife first, then suicide. A moment of shocked silence rippled through the crowd as the gunshot sounded, and the build-up of emotions by the protagonists before they fell was worthy of several Oscars.

Oscar-worthy acting by Xiao Bin and Xing Ying

All I have for the production is Praise. Praise for the set designers, builders and decorators for the sets’ simplicity and thought put into them, from the living room, to the sitting room, café, repair shop (It’s a wonder how they managed to get a real motorcycle into the theatre!), and the clever use of the drapes on stage. Praise for the technical crew and stage managers for their professionalism in directing the lights and sounds in the right places, sounding cues on the dot and ensuring that all goes smoothly backstage. Praise for the publicity and marketing team for their efforts in promoting Chinese Drama and attracting the crowds. Lastly, Praise and admiration for the cast, each of whom put their souls into portraying their characters and keeping the emotions real – the audience felt for every character on stage – and delivering their lines clearly and confidently.

And lastly, a standing ovation to the Steering Committee, headed by producer Xinyu and director Wang Lu, for an immensely successful run of a mind-blowing, beautiful story that many members of the audience were still discussing (and debating about!) even days after it ended. Like Shadows is a play that will surely leave an impression on many of us watching for many years to come!

<<如影随行>> is yet another wild success by KEVII’s Chinese Drama group, and we definitely look forward to subsequent productions!

Three Cheers for CD 2011!

N.B.: The writer has tried her very best to capture the main essence of the production as accurately as possible and to the best of her ability. She apologizes if she has left out details or got any facts wrong and is open to feedback or questions from readers!