Writer: Kimber Lee
Director: Roy Alexander Weise
Untitled F*Ck M*Ss S**Gon Play makes the case the depiction of Asian women in western entertainment is always the same. Female characters are innocent and inherently decent but easily manipulated, believers in idealised romantic love and willing to selflessly sacrifice themselves to ensure the happiness of others.
The point is made by a whistle-stop tour through opera, musicals and drama from Madama Butterfly, South Pacific, M.A.S.H, The King and I and, of course, Miss Saigon. Although the names of the shows change the set-up is always the same. On a remote Asian island Kim (Mei Mac) is tricked into putting aside her modest but honest ambitions to seduce a visiting westerner in the hope of securing passage to America. Later, having been abandoned by the man she came to love, Kim sacrifices her child and, conveniently for the script, her life dying tragically but in a picturesque manner. However, Kim notices how, although the setting changes, the pattern of events repeats and starts to object to her part in the story. When the storyline reaches the present day in, apparently, a perfect American suburban home Kim is forced to consider if anything has actually changed.
Director Roy Alexander Weise takes a larger-than-life approach which minimises the possibility of the play descending into a lecture while wittily pointing out the extent to which stories in foreign settings are shaped by the need to attract and entertain western audiences. In the re-enactment of scenes from plays although songs are played on instruments appropriate to the Asian environment they are always western songs; hence Kim being baffled by her mother suddenly breaking into a Tina Turner number. Rather than speaking the native language the visiting American just says words that sound Asian including ‘’ Haribo’’ which prompts Kim to protest ‘’That isn’t even a verb!’’.
Mei Mac plays Kim, not unreasonably, as a stranger in a strange land. In a wonderful performance she moves from a growing sense of bafflement to full Basil Fawlty style comic outrage.
The director takes the view when in doubt shove in a joke which works like dream- the play is non-stop funny. Jeff D’Sangalang’s showstopping rendition of ‘’ Let’s Get It On’’ is both hilarious and strangely moving. Even the stagehands are in on the joke- four of them entering just to change the gun held by Kim. The approach generates momentum so the audience is ready to laugh from the moment a joke starts particularly when Jennifer Kirby, dripping white privilege, condescendingly explains how she can relate to the injustice endured by Kim because they are both, you know, women.
Kimber Lee could be accused of cheating to ensure her point gets across. Despite being credited as the narrator Rochelle Rose behaves more like the author’s avatar. On-stage for the entire play largely behind a podium she sardonically describes events that are unfolding and makes sure the stereotypes are not overlooked by the audience. No doubt set designer Khadija Raza will be chuffed to hear the extent to which her designs accord with the expected norms in entertainment.
Possibly to redress the balance Lourdes Faberes delivers a rueful nostalgic speech on behalf of an older generation who wonder at their children indulging in such trivial matters as how their race is depicted in entertainment. An older generation was excited to find Asians being featured in films and had no objection to the way they were represented.
Untitled F*Ck M*Ss S**Gon Play is a riotously entertaining look at a serious subject.
Runs until 22nd July 2023