A whip smart dramatic and comedic script and a couple of stellar performances characterise a seedy story set in Singapore.
Singaporean Chinese Girl (Merlynn Tong) is 14 and her brother Boy (Charles Wu) is 21.
Boy moved out of home seven years ago and became a gang member, which he regards as a badge of honour.
Their mother has just died and Girl mourns her, but Boy does not.
Returning to his childhood home, he is appalled at how the place has gone to rack and ruin.
The two are now orphans after their father died of cancer many years earlier.
Girl is intent on honouring her ancestors.
She intends to move in with their uncle, but Boy implores her not to, saying he will look after her.
And so begins a seven year journey, as he sets his sights on becoming filthy rich and she grows up in the process.
A shady character, he tries his hand at various money-making pursuits.
Her desire is to emigrate to Australia and become a vet because of her love of marsupials (koalas in particular).
For him, one scheme after another falls by the wayside until he does strike it rich … with gold, in a business he sets up with his sister.
But wait, there is a string in the tail, one that brings both back to Earth with a thud.
Written by Merylnn Tong, she introduced the semi-autobiographical high octane familial drama to MTC in 2020, as part of the company’s playreading initiative.
MTC commissioned her to write the full play that same year.
Golden Blood is an inventive study of a decidedly different family dynamic that director Tessa Leong ensures moves along at pace.
With respect for Chinese customs, it is extremely witty, performed by two actors who are at one with their characters.
Both are such natural performers.
Their sense of comic timing is impeccable. I speak not only about the delivery of their lines, but the expressions on their faces while doing so.
As Boy, Charles Wu talks big, but struggles to deliver and is haunted by ghosts.
As Girl, Merlynn Tong is a smart operator, who would dearly love her brother to succeed.
A relatively bare set from set and costume designer Michael Hankin is complemented by striking lighting and sound design.
The former is by Fausto Brusamolino and the latter by Rainbow Chan.
What stands out are the energetic dance numbers that punctuate the piece.
Notwithstanding the criminal underbelly inherent in the story arc, there is a warmth and wonder about Golden Blood that makes for engaging and entertaining theatre.
Ninety minutes without interval, it is playing at Fairfax Studio, Arts Centre Melbourne until 30th November, 2024.
Review by Alex First. Photography by Prudence Upton
