by John Ashton and Jian
Guo Wu
La Mama at Carlton Courthouse until November 24, 2001
Reviewer: Kate Herbert
The image of a Chinese student standing vulnerable and
resolute in front of a tank in Tiananmen Square is indelibly printed on our
common psyche. We are chillingly reminded of this event by video footage in
this play.
The immigration to Australia of young people from Mainland
China after the massacre is the theme of Beyond the Heavenly Gate, by John
Ashton and Jian Guo Wu.
Four young Chinese arrive in Australia on student visas.
Their fates and backgrounds comprise the spine of the narrative.
In the capable hands of director, David Branson four actors,
originally from China, Singapore and Indonesia, play the lives of immigrants in
this timely story.
There are some problems to be ironed out in the form and
structure of the play and in the performances, but its themes are compelling. When the emotional level of the acting deepens, the play is
at its best.
Zu Jihong's ( David Lih) rage at seeing his friend shot and
Lu's (Fanny Hanusin) loathing of Australian hypocrisy are passionate moments.
Branson successfully edited the script from three hours to
ninety minutes. The play is built on Wu's own experience as an immigrant and in
the student uprising at Tiananmen where he was injured.
Ashton's performance poet background gives the script a
lyrical and atmospheric language. This is enhanced by the traditional Chinese
poems spoken by a Chinese 'coolie' from the 19th century goldfields. (Ron Morales)
The live, original music by Kelvin Tan, Nick Craft and
Melissa Compagnoni is evocative as is
the video footage.
Wang Jun ( Warwick Yuen)plays a former soldier who shot students at Tiananmen. His regret and shame
bring him to Australia to find a new life. His friend, Zu Jihong, is an
unrealistic, impractical gambler. His sad fate is sealed.
The frightening thread of the narrative involves Judy
(Hanusin), the daughter of an influential Beijing family. She rips off new
Chinese immigrants and uses her timid flatmate (Lorraine Lim) as her puppet.
She despises Australians and capitalism. Ironically, she ends up a flourishing
business manager. Her refugee application was a tissue of lies.
The tragedy of the story is palpable. The struggle to
survive and overcome adversity is strong. However, Wu does not stint on his
criticism of those immigrants who manipulate and abuse their countrymen for
their own gain.
By Kate Herbert
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