(This blog post originated from KAYPOH. For the full article, please visit KAYPOH's website.)
Review by Shane Capri
Summary:“ Where Have All The Flowers Gone? (那年花开否?)” is the latest stage play by W Productions, directed and written by Douglas Wong. It was staged at Yuespace from the 18th to the 21st of July 2024.
The cast of “Where Have All The Flowers Gone?” in one of the scenes of the show. Photo Credit: W Productions
"Where Have All the Flowers Gone?" is the latest Mandarin language production by W Productions, directed and written by Douglas Wong. This performance also marks Douglas’s first creative feature after a near-death health condition in 2020, symbolizing the resilience of life and the power of art.
As a predominantly English speaker, I was initially anxious about watching the show, not knowing if there would be surtitles to aid in understanding the dialogue. Upon entering the space, I noticed two projectors mounted in each corner, providing a glimmer of hope. Unfortunately, once the show began, I realized there were no surtitles present for non-native Mandarin speakers. With my intermediate Mandarin and the help of my native Mandarin-speaking friend, I powered through the rest of the night.
The evening began with Douglas addressing the audience, providing context on how this production came about. For those unfamiliar with Douglas’s work, he is a multi-talented individual, notably an acting coach and entertainment manager. He made a disclaimer that it isn't a student production, even though the cast were his students from different batches. A roar of laughter from the audience indicated that it was mostly his students in the audience that night.
The staging and scenic design of “Where Have All The Flowers Gone?” Photo Credit: W Productions
Once the lights faded to black, we were greeted by a simple setup of chairs separated into four pairs, and a tree in the background with colourful petals scattered underneath. The staging and use of simple yet effective props, like the chairs and the tree with petals, created a visually appealing and symbolic backdrop for the stories.
The 90 minute run time of the show unfortunately felt longer due to the director's choice to stagger entrances and exits. While this approach may have been intended to let the audience sit and “feel” those moments, it often felt forced and detracted from the nuances of familial relationships which were a huge part of the show. Family dynamics tend to stem from our roles within the nucleus, and these lingering moments felt more like a show-and-tell rather than naturally allowing us to tap into our own memory bank and empathize.
Despite that, the writing was a standout, blending poetic Mandarin with conversational exchanges, hooking audiences to discover the play's deeper themes. The overarching theme connects the audience through universal experiences of family and love, posing numerous questions such as "How do we balance our personal desires with familial expectations?" and "What unspoken sacrifices do parents and children make for each other?" ......(Continue reading)
