In the wake of its immensely successful and long-running show Communicating Doors (
A further cross-cultural touch is provided by Jeffery Locker, who has established himself as a local radio and television personality and who is making his first venture onto the stage in Taiwan.
PHOTO COURTESY OF GODOT THEATER COMPANY
The presentation of Black Comedy is part of a double feature of Shaffer's work, with Amadeus (1984), which is scheduled to open at the Dr Sun Yat-sen Memorial Hall on Sept. 6.
Schaffer's work was last performed in Taiwan with the powerful adaptation of his 1974 play Equus by the Performance Workshop (
Black Comedy, a humorous romp though the petty deceits of a young sculptor caught in a power outage when trying to impress a rich art collector and his fiance's father, is not a work in the same league as Equus, but is full of energy and easy laughs.
According to director James Liang (
"We decided to relocate all the action to Taipei, and the characters have also been changed in many respects," said Liang.
Thus Colonel Melkett, a crusty old army man who is the hero's prospective father-in-law, is transformed into General Sun, with dialogue and attitudes making the transition with little difficulty. A gay art collector who is the hero's neighbor and whose house is pillaged to provide suitable furnishings for the sculptor's stark flat, takes more of a beating in the translation process, losing some of the subtlety of British verbal high camp for a rather broader humor. Veteran actor Lee Tien-zhu (
Working from a direct translation of the English script, some of the verbal humor is lost, according to Jeffry Locker, who plays the leading role. But there was plenty of room for improvisation, and the mixed accents of the English original were replicated in Chinese with the distinctly mainlander accents of the general, and the use of Cantonese-tinged Mandarin for roles originally intended for German-accented English. Locker's less-than-perfect Chinese provides additional scope for a number of jokes as well.
Foreign residents in Taiwan have not been active in local Chinese-language theater, and this is the first occasion on which a foreigner has played with a local troupe at the National Theater. To Locker's credit, he manages to hold his own, and although reference is made to him as a foreigner, the show rises above the "lets laugh at the wai guo ren" stuff that happens on Super Sunday and other such TV variety programs.
If there is a criticism to make, the choreography of the piece, which is made even more important than in the original by the alterations, is not tight enough. Luckily, there is enough happening on stage to keep the audience occupied. With much of the action taking place in pitch darkness, there is plenty of humorous stage business, and Locker's lanky build is used effectively to exaggerate the effects.
While Black Comedy suffers from certain limitations relating both to the original work and the adaptation, in the terms that it sets itself, namely in pushing the boundaries of Taiwan's modern theater and in presenting strong plays by foreign playwrights to a Taiwan audience, Godot has hit the mark.
Performance Note:
What: Peter Shaffer's Black Comedy by Godot Theater Company
When & Wnere: At the National Theater, 8pm, Aug. 10 - Aug. 13; 2pm, Aug. 11 - Aug. 12; at the Dr Sun Yat-sen Memorial Hall 8pm, Sept. 13 - Sept. 15; 2pm, Sept. 15.
Tickets:NT$600 - NT1,400 from performance venue or ERA ticketing outlets Performances will also be held in Kaohsiung, Taichung, Hsinchu and Tainan.
April 14 to April 20 In March 1947, Sising Katadrepan urged the government to drop the “high mountain people” (高山族) designation for Indigenous Taiwanese and refer to them as “Taiwan people” (台灣族). He considered the term derogatory, arguing that it made them sound like animals. The Taiwan Provincial Government agreed to stop using the term, stating that Indigenous Taiwanese suffered all sorts of discrimination and oppression under the Japanese and were forced to live in the mountains as outsiders to society. Now, under the new regime, they would be seen as equals, thus they should be henceforth
Last week, the the National Immigration Agency (NIA) told the legislature that more than 10,000 naturalized Taiwanese citizens from the People’s Republic of China (PRC) risked having their citizenship revoked if they failed to provide proof that they had renounced their Chinese household registration within the next three months. Renunciation is required under the Act Governing Relations Between the People of the Taiwan Area and the Mainland Area (臺灣地區與大陸地區人民關係條例), as amended in 2004, though it was only a legal requirement after 2000. Prior to that, it had been only an administrative requirement since the Nationality Act (國籍法) was established in
Three big changes have transformed the landscape of Taiwan’s local patronage factions: Increasing Democratic Progressive Party (DPP) involvement, rising new factions and the Chinese Nationalist Party’s (KMT) significantly weakened control. GREEN FACTIONS It is said that “south of the Zhuoshui River (濁水溪), there is no blue-green divide,” meaning that from Yunlin County south there is no difference between KMT and DPP politicians. This is not always true, but there is more than a grain of truth to it. Traditionally, DPP factions are viewed as national entities, with their primary function to secure plum positions in the party and government. This is not unusual
US President Donald Trump’s bid to take back control of the Panama Canal has put his counterpart Jose Raul Mulino in a difficult position and revived fears in the Central American country that US military bases will return. After Trump vowed to reclaim the interoceanic waterway from Chinese influence, US Defense Secretary Pete Hegseth signed an agreement with the Mulino administration last week for the US to deploy troops in areas adjacent to the canal. For more than two decades, after handing over control of the strategically vital waterway to Panama in 1999 and dismantling the bases that protected it, Washington has
RSS