From the outset, The Poison of Polygamy presented itself as a unique theatrical experience. As soon as the lights dimmed, the audience was immediately immersed in the world of the play, taken there by fabulous lighting, sound and visual effects (led by lighting designer Ben Hughes and sound designer Guy Webster) that played on all the senses. Using the ‘in the round’ format of the Wharf 1 Theatre to its fullest capabilities, the effect was entrancing, and set the tone for what was a very complex piece of theatre. 

The play, adapted from an epic fable published in fifty-three instalments in 1909-1910, seemed on the surface to be a fairly straightforward fable on morality and justice. Delivered through the form of a preacher’s sermon, the play tells the story of four Chinese men who arrive in the Victorian goldfields in the hope of making their fortunes. While all four men seem well-intentioned and virtuous at the start of the play, they quickly succumb to addiction, greed and jealousy, eventually leading to their demise. However, looking beyond the relatively conventional storyline, this was a play that was incredibly subversive and layered, exploring the complexities of human life and death in great depth and with incredible skill.  

Spanning nearly three hours including a short intermission, the play felt almost Shakespearean in nature, scale and execution. Its length meant that it demanded intense focus from the performers. Given this, it is a testament to the play’s lead actors that great depth of characterisation was able to be teased out on stage. Each actor performed with conviction, highlighting the flaws of their character subtly but powerfully. Shan-Ree Tan was particularly impressive as the Preacher and Sleep-Sick as he guided the audience through the story with passion and a staunch resoluteness. Kimie Tsukakoshi was also outstanding in her Machiavellian portrayal of Tsiu Hei, simultaneously engendering disgust and understanding from the audience throughout the second act. While Tan and Tsukakoshi stood out, all the performers on stage were outstanding in their many roles and deserve the highest praise for the focus and nuance displayed on the stage. 

The play itself was also rich and complex, providing the actors with exceptional source material to explore. While the play was highly traditional in structure and form, this did not prevent the occasional piece of incisive and biting humour, which was often used to address themes such as colonialism and ‘Othering’ in a widely palatable fashion. In doing so, Director Courtney Stewart and writer Anchuli Felicia King create a nuanced cultural commentary that underpins the foundations of play and goes some way to addressing some of the more subtle issues of prejudice that Chinese-Australians felt during the gold rush era in which the play was set and even how prejudice manifests now. In this regard, it was interesting how all the conventions of the Western canon (even down to the enunciation of words) were used in the performance, but were eventually subverted, in what seemed like a symbolic rejection of the grand narratives that the canon seeks to advance. 

It is a sad truth of Australian theatre that for too long, marginalised voices, especially migrant voices, have so seldom been given the chance and amplification to shine on the biggest stages. Whether it be on the stage, in the writing room or behind the scenes, Australian theatre in all its forms has historically suffered from a lack of representation which has flowed into the stories told. While the tide is slowly changing, many would argue that there is still a long way to go. For this reason, the importance of Sydney Theatre Company’s support of a work like The Poison of Polygamy cannot be lost. And indeed, the outstanding performance of all those on stage and the work of those behind the scenes shows just how much is lost when such stories are not meaningfully explored. 

While the play benefitted from the space afforded to explore the complexities of the source material, this meant the pacing was sometimes inconsistent and ultimately, it meant that the final product was far too long. While the volumes of the fable each provided a new layer of depth and nuance, it meant that messages were often repeated, which made the play feel like it was meandering, especially through the middle section. However, towards the end, a lot of the action was rushed, and the pacing felt a little too fast. A more concentrated one-act play may have been a more effective way to explore the source material, without some of the repetition and pacing issues. While this would mean simplifying some of the nuance, it may be a trade-off worth considering. Additionally, while the play did not shy away from exploring heavy themes, the depiction of infanticide on stage felt a little unnecessary and potentially, triggering for someone in the audience. While a content warning was posted in the foyer, it could be argued that this alone was insufficient for something of this nature. 

Overall, this was an exceptional play from start to finish. The quality of acting was outstanding and the play itself was excellent as well. This felt like a story that needed to be told and indeed, it was expertly delivered by all involved. This play requires a great degree of focus, especially due to the length and the layers of nuance, however, it is, without doubt, a ‘must-watch’ piece of theatre. 

Rating: ★★★★ 1/2

The Poison of Polygamy plays until 8^th July at the Wharf 1 Theatre. For more information, click here.

Photo credit: Prudence Upton