Review- Small Eyes for a Black Face-Brave Heart Theatre
27-3-15
By: Joyce Wong
Before the show had even started, I walked into the Premium Sofa Club to live fiesta rhythms that anticipated the high-energy fairytale to come. And Braveheart Theatre’s production of Small Eyes for a Black Face was a fairytale in all senses of the word. Fan Lee (Sandy Lau), a student studying sociology at CUHK,, travels to the fictional Kingdom of Zamunda in Africa for a cultural exchange project and chances upon Prince Akum (Darius Dzado) who is in turn searching for a true love who he can claim as his queen. For the rest of the tale, one follows the budding lovers as they explore the culture of the land—from farming to dancing—and overcome the odds of traditional boundaries, parental disapproval and cultural differences.
African Ventures is dedicated to bringing a better understanding of Africa to Hong Kong and the elements of African culture in the play were communicated naturally with sincerity. The plot told of how the African people made a living from farming, how they lived with music and dance intertwined in their lives and how their customs and traditions coexisted with their land. Albeit somewhat general, the plot conveyed African characteristics that make up their vibrant culture. But perhaps more details regarding their lives, like the actual difficulties they face in earning a living from farming—there was a brief attempt to do this in a moment where a villager relays to the King that his family was short on food—would serve better to give an understanding of Africa beyond general perceptions already associated with the continent.
Attention was also paid to give the story a relatable Hong Kong character. The business-minded Mr. Lee (John Able) recalls the typical Chinese parent, and his naggings and chidings to Fan about finding a stable job and an eligible husband reflect a common mentality in this city. I thought the story had used stereotypes (what with Fan referred to by the Zamundians as “yellow small eyes”) to an advantage. Ultimately, this spin on the classic star-crossed lovers tale showed how preconception and prejudice could be overcome by the genuine initiative to understand another culture.
The cast has to be praised for their energy throughout the performance. Either with their music or their tone of voice, they kept the performance going and the audience involved. The percussion played by the cast had a great ambient effect—I enjoyed the scene of farming that used staffs to give rhythmic action. It also served as nice interludes that channeled the plot’s energy for scene changes. The acting, though, was at times bland, missing some opportunities to make the best of the humour in the dialogue. There were a few slips of memory here and there, but not so many to hinder the overall performance. The final dispute between the lovebirds’ fathers, King Ikenga (Nevielle Fon) and the materialistic Mr. Lee, over Fan and Akum’s marriage showcased the strongest expression in the play. Dzado also portrayed Prince Akum’s affectionate awkwardness when courting Fan to humorous effect. As a side note, Able surprised with his Cantonese as Mr. Lee when he’s not playing a Zamudian. For a play with a fairytale plotline, though, I think the acting needs to be stronger for a convincing performance rather than a relay of ideas.
Space was utilized nicely to create a versatile set. The stage, or rather the floor of performance, ran across the central width of the club and the audience was sat on both sides. One end of the floor was set as the throne of King Ikenga, while the other served as interchangeable spaces between Hong Kong, Fan’s hut in Zamunda, or the soothsayer’s chamber. The cast played to all sides of the space and traversed around the audience with direct interaction. A highlight in the set was the talking tree; simple props were also used effectively to convey setting, such as the blue cloth for a river. Lighting was helpful in signaling scene transitions and complimenting the mood of the scene. The dramatic red spotlights on the soothsayer or the talking tree definitely created a sense of the mystic.
Filled with music, dance, animal prints, masks, a talking tree, and a soothsayer, Small Eyes for a Black Face is a light-hearted journey about breaking boundaries, acceptance and love. In this foreign encounter, be prepared to dance and drum (yes, literally) your way into a taste of the unique culture of Africa.
Small Eyes for a Black Face plays at Premium Sofa Club through April 11th. For more information, click here.
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