Tag Archives: Orange Tree Theatre

Rice

Rice

★★★★

Orange Tree Theatre

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Rice

Rice

Orange Tree Theatre

Reviewed – 13th October 2021

★★★★

 

“Michele Lee has created great characters and a compelling story”

 

Rice is Michele Lee’s enterprising two hander about women of colour trapped in the heirarchical (and blinkered) world of male dominated business in Australia. It has just opened at the Orange Tree Theatre in Richmond. It’s a co-production between the Orange Tree and the Actors Touring Company, directed by Matthew Xia. Despite the best efforts of all concerned, Rice is a play with a brilliant premise that doesn’t quite meet its promise.

Lee, who is Hmong-Australian, wanted to create a play that gave two actresses of colour a chance to play multiple roles—roles of “versatility and virtuosity and range.” In creating Nisha, (played by Zainab Hasan) an ambitious young executive hoping to rise in the Golden Fields rice company of Melbourne, and pitting her against the older Yvette (Sarah Lam), a cleaner of Chinese ancestry at the same company, Lee creates a situation fraught with cross cultural tensions both within and without these women’s lives. Hasan does not only play Nisha, an Australian of West Bengali ancestry, but shifts into a variety of roles, including Sheree, Yvette’s troubled daughter, and the white (and very privileged) son of David Egan—a man who is threatening her daughter with a prison sentence. Lam takes on an equally dazzling range of roles, including Tom Budd, an executive at Nisha’s company with whom Nisha has a brief and ill-judged affair; Graeme Hartley, a management “guru”, and Gretel Patel—who brings Nisha’s dreams of advancement to a crashing fall during a disastrous business trip to India.

The story of Rice is quite simple: Nisha and Yvette meet in Nisha’s office where she has been working long hours. Nisha is unhappy with Yvette’s refusal to clean her workspace to her liking. Yvette has very definite ideas about what she should be cleaning. But this clash between powerful personalities is about to become irrelevant in company politics—the Golden Fields company has just hired a management “guru” who is slashing and burning every budget he can find. Thrown together in mutual misery in a series of after business hours encounters, the women become friends. They bond over food, naturally—both Yvette’s home cooked Chinese dishes, and Nisha’s concern over her happy go lucky boyfriend’s food truck and his “khaki rolls.”

Two actresses, no matter how experienced or talented—as Lam and Hasan are—cannot quite pull off the range of roles in Rice, although dialect coach Catherine Weate has done sterling work with all the accents. It’s hard for the audience to keep track of all the characters that cross this bright, white stage in ninety five minutes of playing time. It’s to Lee’s credit that she has created such interesting and varied roles—it would be great to see a cast playing each role with a single actor. Similarly, the change of scenes in Rice would benefit from changes of scenery. Changing the lighting (again, even in the talented hands of Bethany Gupwell, the lighting designer) doesn’t quite do it.

A play with such a varied cast and complex settings (the scenes shift from Melbourne, Australia to Delhi, India) is a lot to pull off successfully in a small theatre in the round. The intimacy of the Orange Tree stage should work well in a two hander, but in this case, the set design is unnecessarily cluttered with a desk. This makes playing in the round quite tricky—every time someone sits down at that desk, the space is transformed from four into three sides, and the audience seated on the fourth side behind the desk have to grapple with the backs (or, at best, the profiles) of the performers. This happens too often not to be an unwelcome distraction. But the overwhelming feeling that remains after the conclusion of this production of Rice—is that this might not be a piece for the theatre. Perhaps the story would show to best advantage as an Australian indie film—the kind that has made Australian film making famous.

In Rice, Michele Lee has created great characters and a compelling story. But it needs the right environment to show to best advantage. Put together a bigger cast in the right medium—and this could be a classic.

 

Reviewed by Dominica Plummer

Photography by Helen Murray

 

Rice

Orange Tree Theatre until 13th November

 

Five star reviews this year:
Bad Days And Odd Nights | ★★★★★ | Greenwich Theatre | June 2021
Bklyn The Musical | ★★★★★ | Online | March 2021
Breakin’ Convention 2021 | ★★★★★ | Sadler’s Wells Theatre | July 2021
Cinderella | ★★★★★ | Gillian Lynne Theatre | August 2021
Cruise | ★★★★★ | Duchess Theatre | May 2021
Overflow | ★★★★★ | Sadler’s Wells Theatre | May 2021
Operation Mincemeat | ★★★★★ | Southwark Playhouse | August 2021
Preludes in Concert | ★★★★★ | Online | May 2021
Rainer | ★★★★★ | Arcola Theatre | October 2021
Reunion | ★★★★★ | Sadler’s Wells Theatre | May 2021
In My Own Footsteps | ★★★★★ | Book Review | June 2021
Sh!t-Faced Macbeth | ★★★★★ | Leicester Square Theatre | July 2021
Shook | ★★★★★ | Online | February 2021
The Hooley | ★★★★★ | Chiswick House & Gardens | June 2021
Starting Here, Starting Now | ★★★★★ | Waterloo East Theatre | July 2021
Witness For The Prosecution | ★★★★★ | London County Hall | September 2021
Roots | ★★★★★ | Wilton’s Music Hall | October 2021

 

Click here to see our most recent reviews

 

Amsterdam

★★★½

Orange Tree Theatre

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Amsterdam

Amsterdam

Orange Tree Theatre

Reviewed – 11th September 2019

★★★½

 

“a brilliant piece of writing, but its formal dazzle ultimately detracts from its emotional resonance”

 

In February of this year, The Guardian ran an article charting the rise of anti-Semitism across Europe. France reported a 74% increase in the number of offences against Jews in 2018 and Germany said the number of violent antisemitic attacks had surged by more than 60%. Here in the UK, the Community Security Trust (CST) – which monitors anti-Semitism among the Jewish community in Britain – said the 892 incidents so far reported this year mark a 10% increase on the same period last year. Islamophobia too is on the rise, and the disturbing trend of xenophobia and intolerance is being felt sharply by immigrants and the LGBTQ community Europe-wide. Against this backdrop, Orange Tree Theatre’s programming of Maya Arad Yasur’s 2018 play Amsterdam couldn’t be more timely.

By tracing the origin of an unpaid gas bill, which our unnamed protagonist finds herself having to deal with, Yasur invites us to look again at the devastation of the Jewish population of the Netherlands, 75% of whom were killed in the Holocaust, and also to consider the polyglot nature of modern Europe, and what it means to be an immigrant. She doesn’t forget that Jews and Arabs are each Semitic peoples, and in an early scene in a supermarket queue we are made aware of the shared experience of a woman wearing a hijab and our Jewish protagonist; of the exhaustion of the continual awareness of the second-guessing of one’s identity – ‘She’s thinking he’s thinking she’s thinking’ – and the weight of being viewed as a representative – ‘Why do I carry around this flag wherever I go?’.

Yasur has quite rightly chosen to address the palimpsest of European history with a degree of formal experimentation, recognising that this complex layering of experience, these different voices and memories, demand a non-linear narrative language. The text is shared by four actors, who tease out its meaning, tossing phrases between themselves like a ball, dancing with repetitions and tangents, punctuating with amplified Dutch phrases, leading us along the circuitous paths of this city and its history, toward a final narrative revelation and resolution.

Amsterdam is a demanding watch, and requires intellectual concentration. Such theatrical moments as there are are few and far between, and seem grafted on to the text to throw the audience a bone rather than stemming organically from the words themselves. The text is king here. And Matthew Xia (director) isn’t quite brave enough to let it fully reign. The success of The Brothers Size at the Young Vic in 2017 showed that London audiences can do stripped back, and this production could have followed its example. The chain metal curtain, the chairs, the glasses; all seemed superfluous, clumsy and dead, in contrast to the living, shape-shifting text, which is its own illustration. Similarly, this is a piece in which the performers are storytellers, not actors, and the show would have benefited from less verbal demonstration. Asking an actor not to act is difficult, but less is more in this instance, and the text didn’t need as much help as they gave it.

Amsterdam is a brilliant piece of writing, but its formal dazzle ultimately detracts from its emotional resonance. ‘No-one wants to hear about the Jews anymore’ our protagonist states, and Yasur’s writing is fierce in its counter-attack. But these words need to be felt; not merely heard. Theatre at its best can hit the heart, and Amsterdam, to its detriment, leaves this power unharnessed.

 

Reviewed by Andrew Wright

Photography by Helen Murray

 


Amsterdam

Orange Tree Theatre until 12th October

 

 

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