A Rich Reimagining: ‘Snow in Midsummer: The Silence’
I love reimagining classics, but usually I know the source material that is being reimagined. This was not the case for me when I went to see Yu Theatre Society’s production of Snow in Midsummer: The Silence, a 50-minute long mime/dance show based on the 13th-century play The Injustice of Dou E by Guan Hanqing. How would I be able to appreciate someone else’s adaptation when I don’t know the original? Thankfully, director and playwright Nathan Zhe has thought of that, and his production invites the audience to make their own interpretation of the story as presented on stage, without needing to study up. In his opening remarks, Zhe offers a brief synopsis, and then encourages the audience to make their own meaning of the action before further bringing us into the show by asking us to summon the soul of the innocent Dou E with the electric candles given to each of us at the door.
The stage is set for an audience engaged in creating meaning from the play that is unfolding before them. It feels like we are all working together as Dou E’s soul (Tara Martin) dances the world into existence, reminding a grieving Dou Tianzhang (Qingsong Xu) of his tragic decision to sell his daughter Dou E (Hefei Zhang) to the crotchety Granny Cai (Ziou Zheng). There’s also the antics of the incompetent doctor Sai Lu Yi (Allen Dong), the terrible jealousy and rage of Zhang Luer (Earl Zhang) and his father (Shuran Cui), and Dou E’s execution at the hands of the adjudicator Tao Wu (Fergus Yi). It all leads up to the play’s title, which comes from one of Dou E’s three prophecies that will prove her innocence: her blood will stain her white clothes, there will be snow in midsummer, and there will be a three-year drought.
The cast moves beautifully in their rich costumes (designed by Vera Zhu and Minghan Zhang) and striking Chinese opera-inspired masks designed by Sophie Liang. Snow in Midsummer: The Silence makes great use of shadow play, masked mime, and Chinese opera-style dance. It’s little wonder that movement director Lizhe Xu is also a co-adapter with movement being so essential to the piece. I was also impressed by Rebecca Niu’s choreographed moments, especially Martin’s water sleeves routine. The set (designed by Weichen Kong) and props (designed by Helena Zhao) are simple but detailed. Three paper screens and three branches on a tree echo Dou E’s three prophecies. The enormous deadly blade used to kill Dou E menaces me on stage throughout the show. Duct tape effectively covers up cables running along the floor before spreading across the stage like cracks in the dry, drought-struck earth to remind us of one consequence of this tragedy. As for Dou E’s two other prophecies, the moment they came true took my breath away. Through two simple lighting cues and the surprising use of a foam machine, we are presented with the visceral staining of Dou E’s clothes with blood and the impossible horror of snow in midsummer. I have to celebrate the combined efforts of the co-technical director Qingsong Xu, lighting designer Jerall Li, Zhe himself (who is also co-technical director and sound designer), and the rest of the technical team (including stage manager Shenyi Lu) for making that moment a reality.
Indeed, I have to celebrate the whole Yu Theatre Society team that brought Snow in Midsummer: The Silence to life. I’ve already said that it was literally breathtaking, so let me conclude by saying it is one of the most rich and original pieces of theatre I have seen in Kingston in a long time—despite being based on a play over 700 years old! I sincerely look forward to what is next from this theatre company and each of the artists involved.
‘Snow in Midsummer: The Silence’ runs until January 18, 2025. More information about the production can be found here. Details about Yu Theatre Society can be found here.
