Searching for Werther and Lotte
McAulay Studio Arts Centre, Hong Kong Island, Hong Kong

Alan Miller

At this multimedia performance of a Goethe-inspired work by the experimental theatre group Archaeology Bird Workshop, I was confused from the word go.

This was mainly due to the fact that I originally understood, thanks to the press reviews, that this would be a 'wordless' production relying entirely on video and theatre (ah, mime I reflected, now this will be an experience). I was then confronted with the fact that it was to be in Cantonese...

From the audience it was very reminiscent of The Unity Theatre in Liverpool. Perhaps a little more understated, but raw, and with all the energy of a performance delivered to the next generation of the artistic elite. I was the eldest in the audience, as well as being the only foreigner. The notion of the 'Other' journeyed through much of my attempt to discern the play. This was particularly so when special attention was given to enunciation of English - 'Lo-TTE... LOTTE... L-O-T-TE' - to uproarious laughter.

Unsurprisingly I found this a strange production. The issue of love, and how it has changed and developed over the centuries, is a tricky subject in any language. The key problem, however, was not the language barrier but rather the inability of the cast to act.

It may come as a surprise to many, but new media techniques do not demand a throwing away of craft and skills. In fact, generally all they should do is enhance the craft itself. So when our lead froze in the midst of his existential doubt, unable to leave or stay, the unbearable burden of human love and its exquisite liberating potential were not what was focused upon. The giggling and (poor) Chaplinesque tugging of suitcase and possessions were. Not comedy, not tragedy, not irony. Just not. Full stop.

There were some interesting moments, addressing questions of cross-cultural concerns and universal aspirations. But ultimately, a digi-camera, a blackboard, a microphone and a TV screen will never dispense with the need to tell the story in a creative and inspiring way. To do that, one needs an ingredient that we are a long way off from artificially creating: talent.

It is a shame that people sometimes accept that young productions with experimental work will inevitably be second-rate. Fortunately, I was able to vanquish my sadness at this folly with a trip to the Piano Festival 2000 at The Cultural Centre Concert Hall, where The Hong Kong Philharmonic Orchestra performed Shostakovitch and Beethoven's Piano Concerto No 4 (with pianist John Lill) exquisitely.exquisi