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.
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
What first caught my eye when I entered the 921 Earthquake Museum was a yellow band running at an angle across the floor toward a pile of exposed soil. This marks the line where, in the early morning hours of Sept. 21, 1999, a massive magnitude 7.3 earthquake raised the earth over two meters along one side of the Chelungpu Fault (車籠埔斷層). The museum’s first gallery, named after this fault, takes visitors on a journey along its length, from the spot right in front of them, where the uplift is visible in the exposed soil, all the way to the farthest
While Americans face the upcoming second Donald Trump presidency with bright optimism/existential dread in Taiwan there are also varying opinions on what the impact will be here. Regardless of what one thinks of Trump personally and his first administration, US-Taiwan relations blossomed. Relative to the previous Obama administration, arms sales rocketed from US$14 billion during Obama’s eight years to US$18 billion in four years under Trump. High-profile visits by administration officials, bipartisan Congressional delegations, more and higher-level government-to-government direct contacts were all increased under Trump, setting the stage and example for the Biden administration to follow. However, Trump administration secretary
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,