Untitled: F**k Miss Saigon Play

World Premier at Royal Exchange Theatre, Manchester

Dates: 24 June – 22 July

Writer: Kimber Lee

A series of recent coincidences have brought to my attention a story that is new to me, but I now know, not new to women who have to straggle Western and Eastern cultures.

First there is a story I became aware of via my Twitter Feed – Yilin Wang’s conflict with the British Museum over translation rights.

Yilin is a Chinese-Canadian writer who discovered that the British Museum’s exhibition “China’s Hidden Century” had used her translations of Qiu Jin’s poetry without Yilin’s permission, attribution or payment.

Rather than credit and pay for the work, the Museum removed it from the exhibition and briefed journalists that this was at her request.

There has been no apology and the suggestion has been made that others contributed to the exhibition free of charge. It should, however, be noted that there was a sizeable grant provided to academics for the work.

Second, across the Pennines from where I currently live, in my home-town of Sheffield, there is about to be a revival of Miss Saigon. I have wondered whether to attend. Because I know the musical and I know it is beautiful. It is carefully crafted. It is tells a heart-breaking story. And I know it is problematic.

And then finally, on my current side of the Pennines, there is the Manchester International Festival and the theatrical production of Untitled F**k M*ss S**gon Play, which has been receiving high praise from theatre critics. I went to see it last night.

For those planning to go, I should let you know that it is a play without an interval. So be prepared, but don’t fret, it doesn’t take too long and you don’t notice the lack of a break. It takes the audience gently, humorously at first through the trauma of the repeated stereotypes of Asian Women. It lampoons the point of view that sees the coloniser as hero in Madama Butterfly, MASH, The World of Suzi Wong and of course, Miss Saigon.

Chimamanda Ngozi Adiche say in her Ted Talk, “The Danger of the Single Story”:

“The problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.”

And this is shown in all its ridiculous and painful truth. The story in this case, is that the biggest prized is the attraction and appreciation of the white man, and that you achieve this through submission and purity (but also paradoxically exotic eroticism). The only possible ending to this story is trauma.

Of course.

Or “Haribo”

Or “Origami”

As Clark, the all-American hero says in his bountiful nonsense condescension that we accept as knowledge. Even though he cannot distinguish between Vietnam, or Thailand, or Korea, or Japan.

And so we watch the story on repeat, until the modern day dinner party, where Kim can no longer play the part, but also doesn’t know how to escape it.

She becomes a whirlwind of anger at the idea that this is as good as it gets. And she burns at the question of why should she care at how she is portrayed in films and television. But that anger is energy and information.

The play doesn’t yet know what to do with that anger. But it’s working on it, by sharing with an audience and holding us to account.

And I would recommend anyone lucky enough to be near a production to go and see it.

Because the story continues.

Yilin Wang was expected to roll over and behave in submissive fashion, grateful that her work is referenced by the esteemed British Museum, whilst white academics take the credit.

Well, she isn’t and a crowd-funder for her campaign to hold the British Museum to account can be found here: Hold the British Museum accountable for copyright infringement (crowdjustice.com)

Because we need a story that doesn’t end with a simple, beautiful death, but instead celebrates the messiness and complexity of life.

If you've enjoyed what you have read, consider subscribing to my writing on Vocal. If you'd like to support my writing, you can do so by leaving a one-time tip. Thank you.