Multiculturalism is often said to be a major part of Australia’s national identity. This isn’t often reflected in Australian society. A Chinese Christmas, written, produced by, and starring Trent Foo shows us what a multicultural Australia should actually look like.
The show is presented by FooFrame Productions in association with bAKEHOUSE Theatre Co. It tells the heartfelt tale of Heepa, who enters yōudū (the Chinese underworld) after a fight with his grandmother. With his magic book and the advice of his Ancestors, Heepa hopes to win back his Paw Paw and return Christmas to normal.
As Heepa, Trent Foo has such a wonderful stage presence. His melodramatic monologues contrast with the quieter roles played by Tiang Nim and Jolin Jiang. Though this does not in any way detract from either’s performance.
Nim’s toned-down acting allows audiences to feel for Paw Paw as if she were one’s own grandmother. Her role in the story reflects the grandparents out there just trying to do right by their family. This is a really nice storyline to be included in a Christmas show.
The play is deeply funny through its relatability. The story of illegal rock fishing, in particular, is a stark example of Foo’s ability to capture these nostalgic experiences. His use of gesture brings audiences into these snippets of childhood failings. He captures how the wisdom and patience of family can be so easily overlooked in one’s youth.
This well-acted youthfulness explores gaps of understanding between young people and their elders. This can be seen in Heepa’s fear of confrontation and refusal to admit his wrongs.
Despite this, the show never feels like it’s talking down to Gen Z audiences. Foo’s writing is self-aware and genuine. It reflects the roles of different age groups in a family. How they change and how people grow. This perspective is refreshingly contemporary and often hard to capture, yet Foo makes it look easy.
Foo masterfully handles a diverse audience with the show resonating across cultural backgrounds. There were many moments where the entire opening night audience gasped or laughed.
This is supported by the staging of the intimate KXT on Broadway theatre. Despite the audience being split on either side of the room, Monica Sayers’ directing ensures that no actor faces away for too long.
The props are well-crafted. I found the symbolism of the mahjong tile towards the end of the show powerful. The unlit piece hung on the tree foreshadowed the fight well, so when it was finally lit, it felt complete. It also felt specific, like it was a real family tale that audiences were privy to.
These elements are supported through the stellar lighting and sound design by Cat Mai and Cameron Smith respectively. The timing of both elements is consistent and supports Foo’s distinct and fluid dialogue.
Jolin Jiang doubles as both actor and live musician and it is an excellent creative choice. Not to mention, her guqin playing is simply gorgeous. The show starts with Jiang alone, creating an otherworldly atmosphere perfect for the intended setting. It draws tension and creates a quiet speculation amongst the audience.
A Chinese Christmas is a lot of firsts. First time directing for Sayers, first time writing for Foo and the very first play of the company. This just proves the crew of A Chinese Christmas is one to keep your eye on.
A Chinese Christmas is presented by FooFrame Productions in association with bAKEHOUSE Theatre Co and runs to 20 December. KXT on Broadway 181 Broadway Ultimo NSW 2007.
Tickets: https://events.humanitix.com/a-chinese-christmas
Website: https://www.kingsxtheatre.com/a-chinese-christmas
Socials: https://www.instagram.com/kxt_bakehouse/ and https://www.instagram.com/fooframeproductions/
Photo credits: Robert Miniter
