King Kong

I had an amazing time at the first preview of King Kong on October 5th!!!

Congratulations to Lauren Yalango-Grant and Christopher Grant on your Broadway debut. You look incredible on stage, and I also can’t wait for your classes on contemporary partnering with Christopher & Lauren Grant to resume at Broadway Dance Center again!

Love the choreographies in the show; the use of movements and (the fairly minimal) props to paint the details in the narrative; and of course King Kong himself. The ginormous “puppet” weighs more than a ton. To raise its arm, a puppeteer needs to jump off 2-3 floors in height and use his/her body weight to pull the arm up. It’s both fascinating but also nerve wrecking to watch. The storytelling and the intimate bond between Ann and Kong almost moved me to tears in Act II.

Go see this magnificent show!!

Seeing You

Finally saw the amazing Christopher Grant and Lauren Yalango-Grant in the immersive theatre Seeing You. Playing in Chelsea under the High Line until July 30th. Go see the show!

I bought my ticket more than six weeks ago, and have been eagerly awaiting the experience. Even though I’ve already seen various photos online, I was still taken by dramatic dance scenes. They were emotional and drew attention to numerous heavy topics. They were also creative and technically daring — such as lifts on a moving table.

When we first entered the performance space, we were free to move around and observe the characters: American soldiers, their family, and loved ones during World War II. A sister joked with her brother, and told him to come home (and survive the war). A wife revealed to her enlisted husband that she’s pregnant. And so on.

The entire production takes place in one continuous large space on a single floor. You are never more than a few steps away from a cast member. There are no walls, and so you can easily see and move between the actions. Up to this point, everything felt like an intimate version of “Sleep No More.”

However, as we we soon found out, this show had much much more.

Air raid sirens went off, and the audience members were ushered into bomb shelters. We learnt to protect themselves. Bombs don’t usually kill directly, but their shockwaves could still incinerate our vital organs. We covered our eyes and ears. (As I grew up in Taiwan, an island under the threat of a Chinese attack, this actually brought back childhood memories.)

Throughout the evening, we were lead through a sequence of distinct themes and heavy topics.

Helping with the war efforts. Donning radioactive suits and conducting nuclear research. Uncomfortable subplots began to emerge. In a townhall meeting, audience members were asked how many Japanese civilians we were willing to kill, to save American soldiers. What about the Japanese art teacher in New Jersey? What about the black private wanting to fight the war alongside his white company members? Same-sex romance? Inter-racial love?

The topics are explored through dance and movements. The deliveries are just as unique and varied as the themes.

A duet performed on a clothing rack. Dancing in a cafe in Hoboken. Dancing on and under a bed. A dinner that turned into a dance but ended in shattered plates. A bloodbath on stage. A grand tribute to the troupes. A “Shadowland”-style choreography of the battles.

The most dramatic scene was when the American soldiers and loved ones took turns dancing on a moving table that circled the entire production space until it slammed into… none other than the Japanese art teacher from New Jersey.

For a truly immersive and engaging theatre experience, check out Seeing You!