Reviewed by: The Chinese Ladyby Lloyd Suh Dohyun Gracia Shin THE CHINESE LADY. By Lloyd Suh. Directed by Ralph B. Peña. Barrington Stage Company and Ma-Yi Theater Company, Public Theater, New York City. 02 27, 2022. When Atung (Daniel K. Isaac), the translator and manservant of "the Chinese lady," opened up a green cargo box labeled "China Shipping," the audience was introduced to Afong Moy (Shannon Tyo), who is thought to be the first Chinese woman ever to come to the United States. She greeted the audience: "Hello. My name is Afong Moy. It is the year 1834. I am fourteen years old, and newly arrived in America. … Thank you for coming to see me." Afong Moy sat as an exhibition on the boxlike stage adorned with Chinese furniture, luxury goods, and flowers. Every detail of Chinoiserie in the box, including Afong Moy herself in a porcelain-patterned Chinese dress (by costume designer Linda Cho), was imagined to be "representative of China." However, The Chinese Ladyby the Barrington Stage Company and Ma-Yi Theater Company revealed that the US fantasy of China fabricated with transported Oriental luxuries has a hollow echo. Like lifeless, artificial flower petals on the stage's walls, the room was unlike any room in China, and Afong Moy was "unlike any lady to ever live." On the stage, which was made to look like a miniature box, she repeated a routine for the audience who paid to see her performance. When Atung opened a curtain, she introduced herself, walked one revolution around the room with her bound feet, ate Chinese cuisine with chopsticks, and demonstrated the tea ceremony while Atung sold Chinese luxury goods to the audience in the corner. Regardless of her taste or will, she was expected to follow a routine designed to facilitate a white audience's "education and entertainment" (or obsession with "commercial Orientalism"—to borrow John Kuo Wei Tchen's term inspired by Edward Said's "Orientalism"). In this mechanical repetition, The Chinese Ladyas directed by Ralph B. Peña delineated Afong Moy and Atung's unfulfilled desires through their conversations, which landed ironically each time they reprised the routine. The play's author, Lloyd Suh, embedded changes in the eerie routine that twisted stereotypical representations of Asian Americans. Afong Moy, who had been fetishized and consumed as a stereotypical Asian woman, was transformed to play in between an object of desire, subject to the gaze of others, and a desiring subject gazing back at US culture. Shannon Tyo delivered an Afong Moy brimming with speculation on US and Chinese culture, chattering away in a doll-like voice with grand theatrical gestures. Afong Moy's seemingly shallow speechifying, equating corsets with bound feet and so on, ironically revealed her counter-gaze on white voyeurism. Tyo's performance highlighted a stark contrast between young, naïve, hopeful Afong Moy and mature, disillusioned, ghost-like Afong Moy, disclosing the xenophobia and racism that obfuscated any trace of Afong Moy's later life in the United States. The Chinese Ladyfurther added a touch to Atung—the stereotypical trope of an "emasculated Asian male"—by focusing on his profession as a translator. Ventriloquizing white men's desire, Atung sold Chinese luxury goods, tickets to Afong Moy's performance, and the exoticism of Chinese culture itself. While Afong Moy showed a strong desire to bridge China and the United States by putting herself on display as an object of desire, Isaac's performance captured Atung's suppressed desire in his gentle smile, comical presentation, and slow locution, which did not clearly show his inner thoughts and feelings—these later exploding in his monologue on Atung's dream, the vividly sexual portrayal of his desire to be recognized. The most notable thing about Atung in The Chinese Ladyat the Public was that the production highlighted Atung's position as a translator. In the process of translation, Atung saw himself "interpreting" others' words with his point of view instead of "directly recreating" the white view. Before reenacting a reimagined conversation between Afong Moy and US President Andrew Jackson, he said that "we can only simulate the past, not in pursuit of...
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