ASIAN PIRATE MUSICAL

Upstairs at the Gatehouse

★★

“Individual songs show real promise and the design team delivers imaginative work”

An early Camden Fringe entry, ‘Asian Pirate Musical’ is currently as nebulous as its title. Despite starting development in 2019, the piece is still finding its footing – though individual elements do show promise.

A futuristic pirate vessel cuts through post apocalyptic Asian seas, where a mysterious storm flings sailors from different eras together. As they navigate a ravaged world, they’re forced to find new meaning and friendships.

The book – co-authored by Zhui Ning Chang, Frey Kwa Hawking, Jade Leamcharaskul, Sarita Lewis, Nemo Martin and XANA, with dramaturgy by Hawking – aims high but lacks cohesion. Premises and stakes are hazy, characters and motivations aren’t fully developed, and subplots fizzle before they find momentum. If anything, the plot feels secondary to the score rather than driving it. Future iterations could swap a couple of songs for dialogue to sharpen key moments and give the narrative clearer purpose. As it stands, the two hour show lacks a strong sense of direction.

The music and lyrics – also by Chang, Hawking, Leamcharaskul, Lewis, Martin and XANA, with Leamcharaskul leading on composition – is another area still in development. The orchestrations are solid, blending traditional and modern styles with real beauty, and individual songs have merit. However, there are too many and they don’t all connect cleanly to the storytelling. The result is more song cycle than musical, breaking up the narrative rather the driving it. There’s also wide variation in tone and style which doesn’t always feel intentional, and some numbers feel musically and lyrically jumpy. The standout number, ‘Without You’, is well produced and genuinely entertaining, but its wildly different tone ultimately feels out of place.

Zhui Ning Chang’s direction is more assured. The blocking and level of movement serve the piece well, though more could be done to draw out the relationships. The projected surtitles help address some sound issues – which I’ll come to – but they sit so high up you’re forced to choose between reading them and watching the action. Wenning Wang’s choreography lifts the production with considered movement and a confident physical language – though the final scenes feel unusually static for a finale.

The design elements land strongly. Scamp Niemz’s set evokes a futuristic sailing vessel with flair, though paring it back a touch would leave a cleaner overall impression. Their costumes are also striking – individually tailored and giving Asian influences a steampunk twist. John Chan’s lighting and Jeffrey Choy’s projections deliver bold washes and sharp dramatic moments. The only element that lands less well is the cast operated roving spot: movement during freeze frames breaks the illusion, even if the music video aesthetic it creates is intriguing. Vincci Chung’s mix is slightly muffled, losing lyrics and plot. However, the ambient and specific effects are both atmospheric and detailed. Mikayla Teodoro’s props fit seamlessly into the futuristic yet familiar world.

The five strong ensemble cast – Yñaqui Tuason-Inocian as Zheng He, Amanda Maud as Sek Yeong, Ashley Goh as Nazar, Rai Endah as Keliling, and Nabilah Hamid as Riang – do a solid job of carrying the nebulous narrative. Maud brings strong stage presence and cheeky twinkle, while Tuason Inocian’s fitting inner calm charmingly dissolves in the upbeat K pop number. However projection is inconsistent, ultimately contributing to the wider sound issues, and vocal technique varies – though Tuason Inocian’s baritone is warm and grounded, and Endah demonstrates a confident mix/belt.

‘Asian Pirate Musical’ currently feels a little adrift. Individual songs show real promise and the design team delivers imaginative work, but the book and score need further refinement to let those strengths shine.

ASIAN PIRATE MUSICAL

Upstairs at the Gatehouse

Reviewed on 28th July 2026

by Hannah Bothelton

ASIAN PIRATE MUSICAL

★★★★★

“Such a hard-hitting script is well-served by minimalism”

Waving tells the story of an artist mother descending into Alzheimer’s, surrounded by her two adult children, each coping in their own way.

The mother has no name. In the programme she is called only The Artist. That tells you what kind of household Rosalind Philp has written. This woman is so completely identified with her gift that her children never quite became people to her. They never quite launch.

Philp’s play, presented by Dogs in Wellies, puts a celebrated painter in a coastal studio, starting a final portrait while Alzheimer’s takes everything. Ava de Winter plays The Artist and co-devised Waving with Philp. De Winter finds the hard note in the part. It is not the confusion, but the intermittent brilliance. Her old self surfaces to land a joke and to dominate the room with charm. Then she is gone again. Each return is smaller than the last.

This pattern is repeated within the family as rare flashes of genuine warmth. Moments of supportiveness are blink-and-you-miss-it between long stretches of mutual resentment.

The Artist’s two adult children slug it out for breadcrumbs of what passes for maternal love. Philp plays Lena, the daughter who keeps bouncing back. Her own life was never allowed to succeed. She is now expected to manage her mother’s inexorable decline. The performance is built from suppression behind a girl-guide smile. A child in that house who declined to make her mother the centre of everything would have paid for it. So, Lena learned to layer her profound hurt with people-pleasing. She’s learned to measure her self-worth by what others will pay attention to and that’s cost her any hope in adult relationships.

Ben Levy’s Miles took another escape route from the same dilemma: drugs and gay-for-pay parties, while the woman he yearns for escapes him. Levy gives Miles a brittle charm that makes the self-destruction look sociable. That is much harder to watch than misery.

Paul Stone is Fabian, the camp neighbour, played with great aplomb. He is Miles’ customer. The mother, trying to sell some paintings, wishes he was hers.

Paul Cooke co-directs with Philp. The production is ultra-low budget. There are an easel and a little furniture. Lighting and sound (Mig Dulevicius and Ron Dixon) do the work of a whole coastline and the crowd at an art show opening. Judicious snippets of Dan Gorgas’ music, ‘So Long Baby’ are unobtrusively scattered throughout. Such a hard-hitting script is well-served by minimalism.

Grief for a parent cannot be separated from grievance. The play provides no consolation in its exploration of how many decades people spend in the bubble of familial misery because it’s the only way they know how to live. If they’re lucky, there are moments of escape, inevitably wasted recreating the same dynamic in their adult relationships, only to fail and return to the mothership. So, the play reminds us that all we have is time. And time is short. On almost no money, Dogs in Wellies have made fifty minutes that hurt in the right places.

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ASIAN PIRATE MUSICAL

★★

Upstairs at the Gatehouse

ASIAN PIRATE MUSICAL

Upstairs at the Gatehouse

★★

“Individual songs show real promise and the design team delivers imaginative work”