We've done it, dear reader! Winter has come to an end, and long may spring prevail. There are two things to eagerly anticipate in the near future – consistently enjoyable weather and an exciting double dose of drama, thanks to Middle Kingdom Creatives (MKC)! Indeed, Beijing's beloved English-speaking troupe has two captivating new plays planned at Jinshang Yuan in April.
You know them for their fun, irreverent humor. They make you laugh, they make you sing – and yes, they might even encourage you to drink. This time, however, they're venturing into the realm of drama with Two Plays: Happiness and No Exit. MKC's foray into serious theater feels like a progression for this group of talented individuals who continuously astonish me with their inventiveness and brilliance. I believe that Beijing truly shines when we observe a diverse yet aligned group come together, flourish, and thrive over the years. The communities that emerge from these experiences offer avenues for cultural exchange and serve as a source of stability for those of us fortunate enough to call this city our second home. With that in mind, I’m genuinely excited to be here today with playwright Danny Whitehead and actress Stephanie Stone. They are both leading this project, and they handle it very competently.
Hi, everyone. It’s always a pleasure to have you here for a discussion. Let's begin by having you introduce yourselves to our audience. We also want to hear all about the fantastic plays you're bringing to Beijing in April.
DW: Hi there! I’m thrilled that my play, Happiness, will be showcased in Beijing by such an amazing creative team. As the title suggests, the play examines the ever-elusive concept of happiness that we humans strive for throughout our lives. How far are you willing to go for happiness? More importantly, what are you prepared to sacrifice? Beginning on the first day of a honeymoon, the play explores the interplay of love, life, and loss in a tense psychological drama that exposes the lies we often tell ourselves and others in our quest for happiness.
SS: Hello, Beijing! This time, I’m taking on the roles of both director and cast member for Jean-Paul Sartre's No Exit. It’s important to highlight that at Middle Kingdom Creatives, we constantly seek balance. Whether through our unique interpretations of beloved classical theater or a mixture of new, original works and renowned classics, we aim to respect what exists while making our own distinctive contribution.
With that in mind, No Exit dives into the eternal suffering experienced by three miserable souls – Cradeau, Inès, and Estelle. These characters bring to the stage a turbulent flow of secrets, unexpressed flaws, and desires that connect them, revealing a painful truth: Hell is not flames and sulfur; it's the incessant judgment of others. No Exit is a relentless, tormenting performance, leaving neither cast nor audience a moment of solace. We look forward to sharing this deeply introspective drama with everyone.
This marks quite a shift from your recent productions, which I'm excited about. It’s no secret that you're at Jinshang Yuan, a venue that feels like home due to your longstanding collaboration. However, I noticed that this time you’re returning to Starlight Lounge, their smaller performance area where you actually held your inaugural shows. Considering Jinshang recently opened a larger space that hosted your fantastic musicals and A Christmas Carol, what prompted the decision to perform on the smaller stage?
DW: The Starlight Lounge enhances the intimacy and intensity of the plays, placing the audience in close proximity to the action. It’s the perfect setting for the powerful emotions and high drama that Happiness and No Exit present.
SS: Exactly. We aim for the audience to feel almost as if they’re an implicit part of the cast. We want them to experience the love, loss, and turmoil of the characters. The Starlight Lounge is ideal for these smaller, more intimate dramas exploring profound, universal themes intrinsic to the human experience.
That certainly makes sense. Speaking of that dramatic aspect, you acknowledge this is a rare shift from your usual comedic performances. While it might be inappropriate to ask about favorites, I can’t help but be curious – what do you hold most dear on stage? The humorous mischief, heartfelt laughter, and irreverent surprises? Or the experience of raw, powerful storytelling? Which is the more challenging to write, direct, or perform?
DW: I believe both comedy and tragedy are uplifting in their own ways. Comedy directly highlights the joys and absurdities of life, but tragedy allows for a cathartic experience for the audience, where pain and loss enhance our appreciation of joys. As a writer, I approach both in a similar manner – in each case, I begin with complex, strong characters who possess a clear intention and obstacle, and whose actions drive the narrative. However, I reverse the structure for each genre. I craft my comedies
Beijing's preferred theater audience is diving into serious themes with two productions in April.