Review by Shane Capri
Summary:“ Where Have All The Flowers Gone? (那年花开否?)” is the latest stage play by W Productions, directed and written by Douglas Wong. It was staged at Yuespace from the 18th to the 21st of July 2024.
The cast of “Where Have All The Flowers Gone?” in one of the scenes of the show. Photo Credit: W Productions
"Where Have All the Flowers Gone?" is the latest Mandarin language production by W Productions, directed and written by Douglas Wong. This performance also marks Douglas’s first creative feature after a near-death health condition in 2020, symbolizing the resilience of life and the power of art.
As a predominantly English speaker, I was initially anxious about watching the show, not knowing if there would be surtitles to aid in understanding the dialogue. Upon entering the space, I noticed two projectors mounted in each corner, providing a glimmer of hope. Unfortunately, once the show began, I realized there were no surtitles present for non-native Mandarin speakers. With my intermediate Mandarin and the help of my native Mandarin-speaking friend, I powered through the rest of the night.
The evening began with Douglas addressing the audience, providing context on how this production came about. For those unfamiliar with Douglas’s work, he is a multi-talented individual, notably an acting coach and entertainment manager. He made a disclaimer that it isn't a student production, even though the cast were his students from different batches. A roar of laughter from the audience indicated that it was mostly his students in the audience that night.
The staging and scenic design of “Where Have All The Flowers Gone?” Photo Credit: W Productions
Once the lights faded to black, we were greeted by a simple setup of chairs separated into four pairs, and a tree in the background with colourful petals scattered underneath. The staging and use of simple yet effective props, like the chairs and the tree with petals, created a visually appealing and symbolic backdrop for the stories.
The 90 minute run time of the show unfortunately felt longer due to the director's choice to stagger entrances and exits. While this approach may have been intended to let the audience sit and “feel” those moments, it often felt forced and detracted from the nuances of familial relationships which were a huge part of the show. Family dynamics tend to stem from our roles within the nucleus, and these lingering moments felt more like a show-and-tell rather than naturally allowing us to tap into our own memory bank and empathize.
Despite that, the writing was a standout, blending poetic Mandarin with conversational exchanges, hooking audiences to discover the play's deeper themes. The overarching theme connects the audience through universal experiences of family and love, posing numerous questions such as "How do we balance our personal desires with familial expectations?" and "What unspoken sacrifices do parents and children make for each other?" The production delves into emotional depths and explores familiar pain, highlighting various mother-son dynamics that are highly relevant today. This conscious decision to exclude fathers from the narrative was compelling, with fathers only mentioned in passing.
Actors from left to right: Johnson Lim, Kerry Wong, Mandy, and Isaac Ong showcase the various mother-son dynamics of the show. Photo Credit: W Productions
Seen above is a snippet from a scene where actors, Johnson Lim and Kerry Wong, portray a scene of a doting son who loses his cool when his mom (Kerry) decides not to go out to have a meal with him, highlighting the endless cycle and struggle between them. Another mother-son relationship, played by Isaac Ong and Mandy, was particularly compelling, especially in how the narrative of a queer son was included. However, this significant narrative was only introduced towards the end, missing an opportunity to explore the character's development and interactions throughout the play. This late reveal actually impacted the story by not fully exploring the struggles the queer son experienced growing up, and missed out on an important narrative on how, and when queer children decide to navigate their world safely without their parents. Having the visual aid of being privy to both stories simultaneously brought the pace of the show alive! There were bits that were quicker and witty, and moments of melancholy. This worked like a charm in capturing our attention to all actors on stage.
A recurring element in the show was a chorus performing a catwalk fashion show, which did not clearly connect to the main stories. These scenes seemed like standalone segments or moments of frivolity to break up the seriousness of the narratives. As a theatermaker, I questioned whether this drove the plot forward. If these scenes were removed, the core story would still make sense, suggesting they were more decorative than essential.
The acting, while earnest, felt like it lacked a sense of grounded-ness. There wasn’t a sense of authenticity in the portrayals; actors shuffled on and off the stage, waiting for their turn rather than embodying their roles. I found myself grasping for a sense of truthful depiction of innocence, particularly in the portrayal of motherhood. From an audience POV, it felt like actors were not fully believing in their characters, leading to a lack of genuine connection.
Douglas Wong's intention to explore resilience, life, and the power of art after a near-death experience was evident. The play successfully conveyed themes of familial relationships, love, and emotional struggles. However, the execution felt disjointed at times. The inclusion of certain scenes, such as the catwalk fashion show and the delayed introduction of the queer son's narrative missed an opportunity to provide a more cohesive and impactful story. Despite these flaws, the production prompted reflection and discussion, achieving its goal of engaging the audience with its themes.
The cast of “Where Have All The Flowers Gone?” in one of the scenes of the show. Photo Credit: W Productions
"花，开有时，落有时 (Flowers, they bloom sometimes, they fall sometimes)" – the tagline on the poster for the show, captures the essence of the play. In Chinese culture, flowers symbolize beauty, grace, prosperity, resilience, and the cyclical nature of life. These themes are woven throughout the narrative, reflecting the multifaceted relationships between mothers and sons. Just as flowers bloom and fall, so do the dynamics of family life, marked by moments of beauty, conflict, growth, and transformation.
Overall, "Where Have All The Flowers Gone?" prompts reflection on how we, as a society, can better support family dynamics and understand the complexities of familial relationships. While the production had its flaws, the themes and writing offer a valuable commentary on family and love. In the end, we are left to ponder: How do we nurture the flowers of our relationships to ensure they bloom rather than wither? And what can we learn from the moments when they inevitably fall?
About the writer.
SHANE CAPRI
Shane (He/Him/They) is a multidisciplinary Arts Educator with over two decades in Theatre, driven by an activist and movement-curious perspective. As a theatre creator and performer, Shane has contributed to Broadway and West End tours like “Phantom of the Opera” and “The Sound of Music”. Outside of advocacy, teaching and performing, Shane is a devoted pet guardian to 6 cats and 6 dogs and enjoys making others look good with crisp haircuts. Certified as a sports nutritionist and a recent software development graduate, Shane embraces his inquisitive nature in all aspects of his life. If you love animals, you’d get along well with Shane!
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