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Synopsis | Rehearsal Photo | Photo Gallery | Review | Music Clip
COMPELLING MASTERPIECE - Li Ee Kee (The Star 12 July 2004)
After the success of Siddhartha - The Musical five years ago, an air of anticipation surrounded Musical On Stage Productions' second project, Above Full Moon.
With most of Siddhartha's main cast and creative team returning to lend a hand, Above Full Moon did not disappoint with it's spectacular visual and auditory display. From the cast's heartfelt performances, realistic backdrops and beautiful score, it was an entertaining and inspiring musical odyssey.
Above Full Moon traces the life of Lee Shu Tong. Born in 1880 to a wealthy family in Tianjin, he became one of China's most prominent artistes of the early 20th century. He was the first Chinese educator who used nude models in his painting classes and pioneered the teaching of Western music. When he was 38, he was ordained as a monk, taking the name Master Hong Yi. He died in 1942.
The play opens with renowned artist Feng Zi Kai, Lee's former student, receiving news of his mentor's death. Feng then takes us back to Tianjin, the late 1890s.
The city is in chaos as the Boxer Rebellion is afoot. Marching through the streets, the –boxers” bellow ominously: –yang kui zi gun hui qu, zhong guo shu yu zhong guo ren” (foreign devils go home, China belongs to the Chinese).
Lee is caught in the commotion. He wants to leave for Kaohsiung to sit for the government exam. Enemy troops tell him it is useless. The Ching Dynasty has collapsed.
In the rousing patriotic number, Li Shi De Bei Ge (History's Sad Song), Lee grieves the loss of his homeland: –Ta zau zi ji de tu di, que ru gu hun mei you gui yi” (standing on my own land, I am a lone soul with no place to go). He is angry at his helplessness: –wang zhe zu guo xue zai di, yao zuo hen duo hen duo que you xin wu li” (looking at the blood flowing from my motherland, I want to do a lot of things but am powerless.)
It is a compelling opening scene that sweeps the audiences away. It sets into motion the captivating journey ahead, one of sorrow, hope and spiritual enlightenment.
As the story unravels, we find Lee, like most educated young Chinese, with the belief that his country needs reforming. While a student in Nanyang School, he worked in an independent newspaper, writing about new social ideals.
Upon his return to China, after five years studying Western arts in Japan, he continued his efforts. He propagated the value of education and the arts towards reformation.
We also see the women in Lee's life - his mother, wife, Yu Shi and lover, Tomoko - and his eventual decision to lead a monastic life as a Buddhist monk.
But Above Full Moon is more than an exploration of Lee's life. It offers audiences a view of China's turbulent past from the Boxer Rebellion to the fall of the Ching Dynasty and start of a Republic. It examines the different social classes and conditions of women during that period, from Lee's mother, wife and the ill-fated courtesans.
The 38-strong cast led by local singer Yang Wei Han (who plays Lee/Hong) was in excellent form, and gave a convincing and moving performance.
Since his musical debut in Siddhartha, Yang has become confident at controlling and projecting his voice. His vocals are defined and forceful with a delivery that is passionate and unwavering.
Praise too goes out to Chew Paul Way and Beh Kean Horng, who play Tomoko and Yu Shi respectively. They brilliantly captured the essence of these two women who longed for nothing but a reciprocation of Lee's love. In the end, realizing the futility of their situation, they are resigned to their fate yet hold on to the hope that Lee will cherish them in his heart.
As they sang of their pain and frustration, their wistful angelic voices touched a chord with the audience. Though their scenes were brief, Beh and Chew made a lasting impression.
In Yu Shi's final heart-rending scene, she wept that her love was really gone and that she didn't have the courage to follow. And we cried with her.
When Tomoko's request to see Master Hong Yi for the last time was turned down, we felt dejected. The love they shared for 10 years was reduced to just memories and heartache.
With 17 scenes and stage settings plus over 200 costumes, Above Full Moon is a visual feast. Its simple sets, which were no less amazing, took audiences from the turmoil in Tianjin to the gaiety of the traditional house of high-class courtesans and Japan with beautiful sakura flowers in full bloom. The lighting perfectly complemented the mood of each scene.
Costume designer, Caren Yee and Above Full Moon director/producer/writer Ho Lin Huay did in-depth research on the type of clothing that was worn during that time. The result is a true representation of China and Japan in the early 20th century. Costumes help maintain originality and provide a feel of the period. Attention was paid to details like embroidery, essential in showing the different social classes of the characters.
The musical score was innovative and stirring. Credit goes to Imee Ooi. Her mainly orchestral music arrangement was creatively interwoven with the piano, Chinese, Japanese and even traditional Malaysian instruments, adding colour and diversity.
Above Full Moon is a beautiful masterpiece. Doing justice to the great life led by Master Hong Yi, it entertained and enlightened. It is a befitting continuation to the dream that began with Siddhartha.
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Li Ee Kee
(The Star, Malaysia)
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