Shanghai Dolls – Kiln Theatre

“Shanghai Dolls” at Kiln Theatre traverses nearly 60 years of Chinese history in a brisk 80 minute run, centering on the intertwined fates of two legendary women. United by a passion for theatre yet divided by political beliefs, personal values, and the sweep of history, one transforms into Mao Zedong’s wife while the other rises to become China’s first female theatre director.

Directed by Katie Posner, the production tackles vast historical events but occasionally buckles under its own weight. There’s a palpable sense of rushing to cover too much ground at once, with the dense narrative sometimes feeling overloaded—especially for Western audiences less familiar with the period. A clever nod to Ibsen’s A Doll’s House frames the struggle of these women, suggesting that the search for meaning, identity, and connection is as timeless as it is universal in a world prone to rewarding social domination and blinding, destructive passion.

The design is a visual treat—a gorgeous set (Jean Chan) paired with striking light (Aideen Malone) and video work (Akhila Krishnan) that keeps the pace energetic, even if it occasionally veers toward flashiness. Yet amid this kinetic spectacle, the play sometimes feels less fully human than its grand ambitions suggest.

Gabby Wong, as Lan Ping/Jiang Qing, delivers a performance a tad too much for the back of theatre for my taste. Initially a mildly irritating, self-absorbed, literal drama queen, her insecurities gradually hardens her into the cold persona of a Cultural Revolution tyrant. Unfortunately, Wong’s portrayal offers only fleeting hints of the vulnerability that might have deepened her character.

In contrast, Millicent Wong shines as Li Lin/Sun Weishi, delivering a consistently believable and engaging portrayal. Her torture scene, choreographed with brio by movement director Annie Lunnette Deakin Foster, injects much-needed visceral energy into the production.

Overall, “Shanghai Dolls” is a commendable effort from British-Hong Kong historian and playwright Amy Ng. Ironically, the production misses a key opportunity for resonance by neglecting what Lan Ping/Nora declares right from the start: “I believe that I am first and foremost a human being.” In its ambitious focus on historical detail, the play could have benefitted from embracing more of that essential humanity.

Playing until 10th May, https://kilntheatre.com/whats-on/shanghai-dolls/

Reviewer: Klervi Gavet

Reviewed: 11th April 2025

North West End UK Rating: