Bush Theatre kicked off spooky season with a bang last night, officially opening Mei Leng Yew’s debut play The Hungry Ghost. Part rom-com, part horror the play tells the story of Girl (Mei Mac) as she prepares to leave her family and move in with her girlfriend, leaving a void that a hungry ghost (Isabelle Wei) swoops in to fill. A tightly plotted tale that showcases and pays reverence to Chinese culture, The Hungry Ghost is a humorous, visceral ride anchored by the outstanding performances of its leading duo – and some old school scares.
Context is important in this play, and the Chinese folklore of the hungry ghost is explored in a conversation between Girl and her mother – both played by Mac. At the start, Girl’s mother warns her not to go outside, and not to pick up any coins off of the floor. Unbeknownst to Girl, Wei’s hungry ghost is already on the prowl, and of course plants a pound, akin to the throwing of a gauntlet, in Girl’s way. Although there is more detail in the play text, which some audience members may miss out on if they do not have a copy, Girl’s mother’s explanation of the ghost month is sufficient enough. The Cantonese and some finer cultural points may not be fully understood by some audience members, but the play never feels like a lecture, but an invitation into a culture that we rarely get to see on stage.
Yimei Zhao’s set feels minimal but does a lot of work – the hidden cupboards offer an endless revolving door of props that are integrated into the story, for dramatic and comedic purposes, adding to the visceral nature of the production. As the ghost takes greater control of Girl’s body, Carla Ng’s sound design and Cheng Keng’s lighting work seamlessly to mirror the heightening emotional state of the show’s lead characters. Bright colours reflect the intensity of the ghost’s hunger, and a layering of pink and blue communicates the increasingly chaotic effects of this on Girl. The jump scares and blackouts add to the increasing drama and danger of the situation, keeping the audience on their toes. Surely this is why you go to the theatre, to immerse yourself in another world – and this show transports you to a different plain entirely. It’s pure escapism.
Speaking of duos – all hail Mac and Wei. As the hungry ghost, Wei manages to extend her body, almost preternaturally, her physicality from the outset communicating an otherworldly grandeur and unpredictability. Mei’s deft handling of multiple roles, and accents, is a particular standout and her ability to believably play ‘stern Chinese mother’ and the giddily excited Girl in the same breath. In a lean script where every word counts, her performance ensures the story moves along at pace, grabbing the audience by the throat and never letting them go. The show pretty much lives or dies on Mac’s and Wei’s performances, and thanks to their chemistry, it soars. Their growing symbiosis makes for a physically demanding performance, and their efforts more than sell this gripping ghostly affair.
Although the pace towards the end of the play does slow, this feels necessary to allow for the exploration of more serious terrain, specifically why the ghost has been unable to move onto her next life. This origin story adds depth and sympathy, showcasing Yew’s creative range. Keng’s lighting drifts into a cool blue, calming the atmosphere while highlighting the ghost’s isolation. Some finer points do get lost: there’s a brief mention of a potential familial connection between Girl and the ghost, and a compelling visual trick gets missed by a portion of the audience due to its placing. In finding peace the play ends on a hopeful note, with this, and the smell of joss sticks following you out as you exit into the night. Just don’t pick up any coins on your way home.
4.5/5
Thanks for reading!
Playing at Bush Theatre until October 31st!
Tickets here: https://www.bushtheatre.co.uk/event/the-hungry-ghost/#book
Photos by Corrine Cumming
