Scenes from a Repatriation – Royal Court Theatre

Scenes from a Repatriation is a bold and thought-provoking play that centres around a 1,000-year-old statue of Guan Yin, which was taken from China and is now housed in the British Museum. This production offers a rich philosophical exploration of the questions surrounding ownership of cultural artefacts—who has the right to possess them, and what meanings they hold for individuals across time and place.

From the outset, the play is an intense, quite disturbing and an unconventional experience. It unfolds through a series of dynamic, often surreal scenes, each presenting a different perspective on the statue’s significance. The statue of Guan Yin becomes more than a historical object; it is a spiritual icon, a political flashpoint, and a symbol of commodification in a world where cultural heritage can be bought, sold, or stolen.

The production opens with Fiona Hampton portraying a witch-like figure who communes with Guan Yin. In a powerful and poetic scene, she attempts to release the spirits bound to the statue, confronting museum guards and making a passionate case for its return. The witch asserts that the statue, taken under questionable circumstances, does not belong in the British Museum—it is, in essence, a stolen relic of immense cultural importance.

As the play progresses, the statue’s journey and impact are refracted through multiple lenses. Characters from different walks of life engage with it: a grieving daughter seeking spiritual solace, an art dealer more interested in market value than meaning, a Chinese student wrestling with cultural dislocation, and a Western collector whose wealth enables ownership without understanding. These vignettes collectively illustrate how a single artefact can embody multiple, often conflicting, truths.

Each member of the cast takes on multiple roles, shifting effortlessly between characters and perspectives. Notably, Kaja Chan delivers an extraordinary performance, transitioning seamlessly between roles and languages. Her fluidity in both English and Chinese brings a striking authenticity and emotional depth to each scene.

Language plays a central role in the production. The moments that are not in English are accompanied by English subtitles projected on a large, semi-transparent screen integrated into the set. This screen also functions as a narrative device, signalling scene changes and serving as a dynamic surface for visuals, enhancing the layered storytelling.

The staging is minimalistic yet striking. At the heart of the set is the statue itself, which dominates the space and serves as a silent, imposing presence throughout. The floor of the theatre is covered in sand, evoking a sense sacredness.

Scenes from a Repatriation is not merely a play—it is an invitation to reflect on the legacy of colonial acquisition, the commodification of history, and the spiritual resonance of objects that outlast empires. It is a challenging, evocative piece of theatre that prompts as many questions as it answers, and leaves a lasting impression long after the final scene.

Link to Tickets: Scenes from a Repatriation – Royal Court

Reviewer: Zain Russell

Reviewed: 30th April 2025

North West End UK Rating: