There is a distinct ethnographic link in The Bridal Lament. Rainbow Chan uses family heritage, and visits to the Wietou people of Hong Kong, in particular older women who went through arranged marriages such as evoked in the performance. This detail is revealed in stages in the show, in the spoken intervals between 15 or so items in what is identified in program notes as a “song cycle”, based on traditional poetry and songs of bitterness felt by women and performed to their family and friends before the arranged marriage commenced.
This show has credentials of “diaspora” arts as the program also says, and would have particular appeal to sectors of the Chinese community and to feminist audiences with its vigorous depiction of a patriarchal society – even if the marriage practice ended two or three generations ago. This dimension of oral history could motivate a wide range of shows from cultural backgrounds – although the Asian arts profile of this show gives it high contemporary interest.
So how does the show stand up for a general audience? I must say the publicity on this festival event suggested a degree of experimental, multi media experimentation (of “lush, pop-infused audio-visual experience”) that was not entirely present. The show is a reverie of lyrical, gentle singing, in alternative traditional and pop styles, which was well performed. Rainbow Chan was assured, sincere with a quiet yet affecting voice. As the ending showed conclusively, she can perform with great conviction and earnestness. Her movement enhanced singing, and brought a genuine pop concert feel to many songs. The recorded music occasionally drowned her own voice – a technical issue that can be easily fixed.
There was continuing projection on rear black curtains, and these included highly poetic text of many songs, especially when sung in Weitou language, as well as alluring images often animated. There was also projection, mainly of colour, on a large constructed set piece – a residence – made of white beaten beads. I wondered if the set object could have been centre stage, and adapted for use as the main screen for projection of text and images. The black curtains were not entirely successful for illumination, and some text was difficult to read.
The pop style, composed well by the singer, did add variety, and there was effort to change mood with staging, lighting and movement. However the core sung and visual material, and staging (especially spots on a black stage) was finally limiting for an hour long one person work. The show, in a shorter format, could go well in a double bill. It has been performed previously, in arthouse theatres such as Carriageworks, and it certainly was gratifying to see, but I remain unsure how entertaining it remains, in its current format, for a wider audience.