The Butterfly Effect

Tango

When a small, seemingly insignificant occurrence causes or contributes to other, larger and more dramatic events, we call this the Butterfly Effect. At one time, it used to be referred to as Chaos Theory. This belief that the flapping of a butterfly’s wings might actually create tiny changes in the atmosphere that would bring about something catastrophic, like a tornado or a typhoon, is a more poetic turn of phrase. Such a phenomenon is the premise of Joel Tan’s two-act drama, now having its American premiere at PrideArts.

A noted Singaporean-born and London-based playwright, Joel Tan (“The Way We Go,” “Mosaic,” “Cafe”) has written a drama that’s a penetrating and sometimes poetic examination of his Southeast Asian home. Recognized as one of the best cities in the world, Singapore is among the greenest and cleanest metropolitan places to live on the planet. However, while the there have been noticeable strides made in LGBT+ rights, a majority of Singaporeans still feel that carnal relations between same-sex adults is wrong. In a recent survey, almost 73% of the people poled said they were against same-sex marriage. Thus, the legal union between two gay or lesbian individuals, while not exactly against the law, is unrecognized in Singapore. 

But a few years ago, Singapore’s Minister for Home Affairs and Law said that all individuals are equal, when he stated that people “are not any lesser by reason of their sexual preferences.” While this gave hope to the gay population, it was a flimsy admission. But this is the culture that influenced Joel Tan’s play and, in light of several recent events in the United States, now feels particularly timely and tailor-made for American audiences. Any advances in LGBT+ rights that the US Government made in recent years have either been eradicated or are in danger of being sabotaged in the near future.

Kenneth was born in Singapore, but when he was caught one night with Robin, his young lover, his father threw him out of the house. Somehow Kenneth found his way to London, where he became a successful banker. There he met, fell in love with and married Liam, a handsome British schoolteacher. Together they adopted Jayden, an abused little boy who authorities had removed from his brutal parents. Life for this gay family was as happy and peaceful as can be expected in today’s world.

Then Richard, Kenneth’s widowed father, suffered a mild stroke. Wanting to reconnect with and help care for his dad, Kenneth left his job in London for a better position in Singapore and relocated his family to the Asian island nation. 

While Liam, Kenneth and Jayden are having lunch one day with their lesbian gal pal, Elaine, elderly Lee Poh Lin, the waitress serving them, suddenly realizes that she’s serving a homosexual couple. She becomes rude and refuses to bring them their meal. Despite Elaine trying to diffuse the situation, and after Kenneth becomes defensive and confrontal, Lee Poh Lin begins screaming at them, calling them perverts and creating a scene. The incident creates such a loud commotion that, naturally, bystanders record the ruckus and post it online. And this metaphorical fluttering of a butterfly’s wing sets off an unrelenting string of abhorrent events. One unfortunate situation in the Singaporean restaurant slowly snowballs into a storm of events that cleverly puts the audience in the shoes of everyone involved.

In addition, another story unfolds in Joel Tan’s insightful drama. Lee Poh Lin’s raising her nephew, Benmin (a nicely underplayed performance by Oscar Hew), who also works at the restaurant. After Lee Poh Lin’s emotional confrontation draws hundreds of loud protesters to congregate outside the Asian eatery, she’s fired from her job. Then, to complicate matters even more, we learn that Benmin is a closeted gay thirty-year-old. He meets a guy named Zul on a dating site (played with gusto and understanding by Ronnie Derrick Lyall) and, in addition to trying to cope with his Auntie’s conservative outburst, Benmin must decide if he’s comfortable living a gay lifestyle in Singapore.

First, I have to commend PrideArts for selecting this moving drama to close its 2022-23 season. I also want to praise their beautifully redecorated performance space. The theatre has an upscale, sleek and stylish urbane ambiance. It provides the audience with a versatile seating area of comfortable, upholstered chairs, stretched out on either side of the stage, while allowing full view of the actors. The play is performed on a neutral playing area, conceived by the director, with the offstage cast always seated in plain sight. The few props and pieces of furniture hide there in the shadows, until the actors bring them onstage. An excellent lighting design by Elliot Hubiak directs theatergoers on which portion of the stage they should focus. A series of English subtitles are flashed on the wall, allowing the audience to understand the dialogue delivered in Singlish (a glossary of terms is also included in the program.

The cast is comprised of  Singaporean-born actors, along with several Asian-American Thespians. As Kenneth, handsome 

G Hao Lee leads the story as a gay young Singaporean man trying to reunite with Richard, his father, and heal old wounds. He’s nicely played with a quiet dignity by Cai Yong. While keeping his marriage to British husband, Liam, strong and loving (sensitively portrayed by Chicago actor, Mike Newquist), Kenneth is often forced into the role of disciplinarian to the couple’s precocious son, Jayden. The young boy is given a powerful, heartfelt performance by young actor, Luke Gerdes.

But, for me, the best performances of the evening came from the play’s two women. Chinese-American actress, Rainey Song gives a lovely, multilayered performance as Lee Poh Lin. I suspect, as I watched this fine actress morph into a stooped-over, hardworking breadwinner, that the actress is actually much younger than the character she’s portraying. While I don’t agree with Lee Poh Lin’s views on LGBT+ rights and gay marriage, I respect her feelings. She is an empathetic character from an older generation who can’t understand that what she said and did to Kenneth’s family hurt them deeply. The initial incident grows worse as it’s spread by trolls across the internet, igniting a war of will and words that the poor woman simply can’t comprehend; and her supportive relationship with Benmin helps round out this character even more.

 In addition, talented Carolyn Hu Bradbury brings heaps of honesty, eloquence and a degree of warmth to the kindly character of Elaine. Not only does Ms. Bradbury lay it all out there on the stage in every single scene, she’s also a giver. Elaine is there, 24/7, to support her little daughter, her partner and her friends. But she continually works nonstop to help guide and build a new relationship with Lee Poh Lin. This gifted actress truly delves into the heart of her character, portraying someone rare: a true friend and a soulful humanitarian, who shines in this bitter world.    

Also hailing from Singapore, talented Director Carol Ann Tan is a writer and a dramaturg. She’s an artistic associate with Silk Road Rising, and has worked with Writers Theatre, TimeLine, Gift Theatre, First Floor and SoloChicago. For PrideArts she brings acclaimed playwright Joel Tan’s contemporary fable to life in a production that entertains, while still asking important questions about love, acceptance, compassion, tradition and families, both hereditary and chosen. A little predictable at times, and staged with less variety than I’d expect, this modern drama shows us where Singapore fits into the 21st century. “Tango” is timely, poignant, sometimes very funny and totally heart-wrenching that gives wings to the Butterfly Effect.      

Recommended

Reviewed by Colin Douglas

Presented May 11-June 11 by PrideArts at the Pride Arts Center, 4139 N. Broadway, Chicago.

Tickets are are available in person at the box office, by calling 773-857-0222 or by going to www.pridearts.org. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.