His Mother’s Voice

His Mother’s Voice
Image: Photo: Chris Peken

His Mother’s Voice takes audiences from 1966 Shanghai at the time of China’s Cultural Revolution, all the way to the eve of the Tiananmen Square protest.

An aim of that revolution was to remove from Chinese society all ‘capitalist’ cultural elements. So, learning piano which is at most, a tedious chore to the student, became distinctly dangerous.

Lead actor Henry Tseng describes the play’s ambience as similar to Mao’s Last Dancer. It’s based on the true story of an incident that caused friction in Sino-Australian relations.

On the cusp of the ‘Asian century’ – one that will be dominated by the People’s Republic of China – it becomes more important to consider the nature of Australia’s relationship with this massive northern nation.

bAKEHOUSE  director Suzanne Millar says writer Justin Fleming “has taken a big idea – the relationship between China and Australia – and gently examined it through the prism of a family.”

Relevant to the play’s themes is Malcolm Fraser’s latest book Dangerous Allies that promotes the idea our most significant ally – the United States – should not be.

A former Liberal Prime Minister, and Defence Minister during the Vietnam War, Fraser believes Australia risks being entangled in another conflict if we do not distance ourselves from the United States; that the current alliance is characterised by compliance with U.S. wishes.

Tensions rising in the East China Sea between China and Japan over disputed islands are just one area that could draw the U.S. into a conflict that – on current treaty arrangements – would enmesh Australia as well.

Visiting Japan in mid-April, President Obama reaffirmed his commitment to Tokyo, at a time when Japan’s present government, seems to be taking an increasingly nationalist stance on the issue of the islands’ ownership.

Fraser also believes containment of China to be unnecessary. He believes China is too occupied with its own economic growth to have other intentions. He’s also pointed to the Sino-Soviet divide, which he says the U.S. never completely understood; the fact there was not – even during the Cold War – a united threat from the East. He feels that an opportunity was lost at the end of the Cold War for Australia to take a much more independent stance on foreign relations, one that better serves the interests of Australia, rather than those of our largest ally.

The story of His Mother’s Voice is no less serious but manages to leaven the drama with poetic tinges and humour. Ten of the cast of twelve are Asian, and Harry Tseng says overall it presents an optimistic view of Australia’s interaction with China.

Graduating from NIDA in 2010, Eastern Suburbs resident Harry Tseng is originally from Box Hill in Victoria. Becoming an actor was a gradual process for him: his original dream was to be a singer and he spent fourteen years doing so – in opera and jazz. However, it was during a performance of Hot Mikado (a jazz version of the Gilbert & Sullivan favourite) he had a revelation when one of the chorus members was talking to him about “what fun it was”. For Tseng ‘fun’ is not what it seemed.

During the performance of a subsequent operetta a co-lead suggested he try drama. After a few private lessons he was accepted for NIDA – that was four years ago. Since then some of the productions he’s appeared in are: Moths (Melbourne Theatre Company), Seekers (directed by Rodney Fisher) and playing Sam in Lord of the Flies; and Tseng has also directed Life’s A Stage for the Chinese New Year Festival Company. On television he’s had guest roles in the popular SBS series East West 101, and in films such as the about to be released Healing with Hugo Weaving.

Recently, the offer of another role wasn’t to Tseng’s liking.

The town of Young in south-west NSW transformed its annual historical festival this year, adopting a Chinese theme. In the 1800s it was known as Lambing Flat, which in 1861 was the site of a dreadful riot in which European miners attacked their Chinese counterparts.

With that history in mind the festival itself had many positive and conciliatory aspects. However, being asked to take part in a re-enactment of the riot, Tseng saw as insensitive and he makes the point that this is, even 153 years on, still a painful memory for Australians of Chinese heritage.

It’s these cultural insensitivities that we need to avoid according to the director Millar: “With Australia building its relationship with China, it’s important to be aware of miscommunication, of things unsaid, of misunderstandings. To establish the relationship on mutual benefit, respect and understanding. I think audiences will appreciate the theatre, and reflect on the ideas.”

At its heart it asks the simple question: what would you do for love? (MMu)

Until May 17, atyp Studio 1, Hickson Rd, Walsh Bay, $20-30 (02) 9270 2400, bakehousetheatrecompany.com.au

BY MICHAEL MUIR and ALEXANDRA ENGLISH

You May Also Like

Comments are closed.