THE DAO OF UNREPRESENTATIVE BRITISH CHINESE EXPERIENCE at the Soho Theatre

★★★★

“defies genres whilst remaining coherent and witty”

Written by Dan York Loh the piece is a thoughtful and vivid exploration of the experience of being mixed race in a working class British small town and also a reflection on Chinese philosophy, with further references to the legacy of economic austerity, lack of opportunities and alienation. The play features punk symphonies and psychedelic rock throughout. The actors tell the story of a character’s life, relaying personal events that make up the ‘unrepresentative experience’ of being mixed race in Britain. Interactions with memories and spiritual characters such as the Master of the Opaque are mixed into music and cheerful radio announcements for the EA Podcast. Directed by Alice Kornitzer, the show is in a free form style and the benefits of this freedom are utilised very effectively.

York Loh defies genres whilst remaining coherent and witty. Video projections paint the scene behind on the white walls of the set, providing abstract artistic visuals of the scenes. Composed by An-Ting Chang, the cast take up instruments to perform songs seamlessly and transitions are inventive and effective. During the midpoint the stage separates to reveal an octagonal screen, evoking a Pink Floyd gig as well as a wooden dock, emulating an older setting. The music is vibrant and sometimes angry. Songs about “The East vs West” and “Virtuosity” add to the reflective stream-of-consciousness style, whilst also being enjoyable musical moments. The base guitar hits through the lead’s oscillating notes whilst spoken word and lyrics are delivered.

The story utilises Chinese philosophy to talk about the narrator’s life, referencing the ‘Dao’ or ‘the way’ to talk about the various paths one can take in life. The character refuses to tell a cliche story, admitting they didn’t have a stereotypical upbringing; “lived in a 70s sitcom” and attended a Catholic school and stole cars. The play regularly breaks the fourth wall, addressing the audience and reflecting on how the show is being perceived; “far too indignant for subtlety”. The play discusses racism experienced by the narrator, in particularly, a haunting nursery rhyme is recited at various moments; “Chinese, Japanese, dirty knees, what are these”. The layers of this childhood insult are explored and dismantled. There are also reflections on crime, solidarity and the quest for identity. No and again there was some lack of clarity and some topics felt less explored than others. There was room for some tightening on the closing of the first act and as the writer says “the show’s already long enough”, but these issues don’t take away from the overall experience.

The actors portray the various spiritual characters flashbacks. Melody Chikakane Brown playing Master Obscure and Master Opaque with humour and wisdom whilst also portraying the main character in the flashbacks. Aruhan Galieva delivers impressive vocals and singing with energy and talent whilst also bringing levity through their flashback characters. Daniel York Loh plays guitar and minor characters, allowing the other performers to carry the major plot moments. The play is brilliantly unique and wonderfully performed, with the spirit of punk and rock permeating throughout.