The World of Extreme Happiness

  • Theatre
  • Drama
Critics' choice
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© Richard H Smith

Katie Leung (Sunny) and company

© Richard H Smith

Sarah Lam (Wang Hua) and Vera Chok (Xiao Li)

© Richard H Smith

Chris Lew Kum Hoi (Paul) and Katie Leung (Sunny)

© Richard H Smith

Vera Chok (Ming Ming) and Katie Leung (Sunny)

© Richard H Smith

Katie Leung (Sunny)

© Richard H Smith

Vera Chok (Ming Ming)

© Richard H Smith

Katie Leung (Sunny), Vera Chok (Ming Ming), Sarah Lam (Artemis Chang)

© Richard H Smith

Daniel York (Li Han)

© Richard H Smith

Sarah Lam (Wang Hua) and Daniel York (Li Han)

© Richard H Smith

Junix Inocian (Gao Chen)

© Richard H Smith

Sarah Lam (Wang Hua)

It’s been quite the year for hard-hitting plays about China, to the extent that I feel like I’ve spent more time in 2013 with certain British East Asian actors – notably Benedict Wong, lead in both ‘The Arrest of Ai Weiwei’ and ‘Chimerica’ – than I have with my own family.

Indeed, the extent of ‘Chimerica’s success has been such that cast changes were required to its West End run to release actors Vera Chok and Sarah Lam to star in this gripping new play from US writer Frances Ya-Chu Cowhig, brilliantly directed by Michael ‘Constellations’ Longhurst.

Like Howard Brenton’s ‘…Ai Weiwei’ and Lucy Kirkwood’s ‘Chimerica’, ‘The World of Extreme Happiness’ concerns the Chinese state’s prodigious willingness to crush troublesome individuals. But Cowhig – who is half Taiwanese – offers a ruder, weirder, funnier, more insidery view of the emerging superpower than that provided by the white British playwrights.

'The World…' follows the adventures of Sunny (a winsome Katie Leung), the unwanted daughter of a pair of rural peasants who leaves behind her oppressive pigeon fancier father and heads for the insanity of the Special Economic Zone.

In this noisy, neon-spattered netherworld she falls in with a strange self-help cult, secures a highly dubious promotion in her janitorial job and finds herself in the unfortunate position of being given the chance to speak publically about the way China's rural poor are exploited to fuel its economic boom.

Salty, surreal and bombastic, Cowhig’s writing often recalls the in-yer-face Brit playwrights of the ’90s - her writing is bruisingly funny and occasionally excessively unsubtle. But Longhurst directs brilliantly and briskly, turning the NT’s unlovely Shed space into a rich, strange underground China, abetted by first rate sound and lighting design from Max and Ben Ringham and Philip Gladwell.

And there are big, stylized performances from a strong cast of six – a menacing Daniel York and alternately clownish and tragic Vera Chok are the standouts – to propel it forwards. There’s also an excellent turn from an actual live pigeon who sadly goes uncredited – well done that pigeon!

By Andrzej Lukowski

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Honestly I find the play takes the situation of China today for granted and fails to address the complexity of those hot issues like the decrease of rural population, mass production in the city and self identification of labors. It would have been much more interesting if these issues are being sophisticated researched, and reasonably presented. Celine Dion in rural China?? Come on!!