Review of ‘Prayers For A Hungry Ghost’: “Haunting staging and spirited performances deliver an almost immortal concoction”

Barbican’s studio space hosts the world premiere of KISS-WITNESS’s latest creation — combining conceptual art, movement, puppetry, and acting to convey a story of loss, torment, and stoicism. Guillermo Nazara shares his views on the show to let us know if its spectral narrative is likely to get some boos.

If you’re looking for the usual jump-scare spooks the Halloween season calls for, you’ve come to the wrong place. Unless you’re a Buddhist (and if you’re not, you will be enlightened three seconds after the show starts), the title might have misled you into thinking this is some kind of horror piece. And let’s be clear about it — it truly is a horrifying watch, but in the most palatable, alluring, and probably addictive way.

There’s no false advertising in its name, however — you’re actually in for a ghost story. But don’t expect spectral apparitions or EVP phenomena. The Western conception of the afterlife has gone in search of Nirvana with this one. And it’s unlikely that its characters or audiences are meant to find it.

There’s a lot of human analysis and a lot of humanity to analyse in Prayers For A Hungry Ghost, which opened last night at the Barbican Centre’s studio theatre, The Pit. Beyond its ethereal framework, inspired by the Buddhist vision of damnation (for lack of a better term), the play takes us through the purgatorial steps of a recently deceased man. His callous and selfish attitude, stemming from the demons of a traumatic childhood, has dragged him into his own personal hell, where he relives his neglectful parenting and how that led to one of his daughters’ demise.

It’s an extremely compelling premise that, on the whole, is deftly executed. Put together by the KISS-WITNESS company, writer Elizabeth Gunawan delivers a gripping narrative that exudes pathos and resonance. Its unconventional structure secures its dramatic interest and surprise. In a similar twist to a Hitchcock film, the father’s role as the protagonist begins to fade as the attention shifts to his kids’ upbringing and how it all backfired, in the most tragic way, for one of them.

It’s a clever maneuver that doesn’t come without a risk, but the script proves to be in safe and capable hands. Ultimately, the outline works. And so does the language it employs, mixing naturalistic dialogue with some strokes of abstraction, absurdism, and corporeal expression. All the elements come together in seamless unison, and its visual clout is as extraordinary as it’s galvanizing — bleak but vivid, foul but appetizing, shocking but inviting.

Performed in roughly 70 minutes, the recount maintains a steady pace. There are hardly any down moments, as its fast rhythm guarantees a constant stream of new inputs. But no matter how advantageous this feature might be at certain times, it also comes across as problematic.

Although the show establishes a strong bond with its audience, there’s a slight lack of depth lingering throughout. The themes of jealousy, misunderstanding, and self-consciousness are well presented. So are their causes. Still, their exploration feels a little superficial — both dots are connected in an overly straight line, without delving into the fluctuations of a soul that begins to crack and, eventually, is completely torn apart. In addition, the characters seem a bit one-dimensional — especially the father, who doesn’t exhibit any redeeming traits.

Regardless, the technical quality in the portrayals disguises some of these flaws. Despite some occasional stiffness in the acting, the three performers shine in a what, in the end, is a rather immaculate rendition brimming with mercurial stamina and emotional eloquence. Among them, Daniel York Loh receives the highest praise, thanks to his astounding range, which is carried out with absolute effortlessness.

Some shows are meant to be buried for eternity. Some others become part of our eternity. Despite some correctable errors, Prayers For A Hungry Ghost summons the spirits of theatricality and storytelling with the right charm, resulting in an arresting, challenging, and utterly satisfying experience that overflows thought and sentiment. It might be a few tweaks away from being totally bewitching, but it possesses the ability to get there.

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Prayers For A Hungry Ghost plays at London’s Barbican Centre until 1 November. Tickets are available on the following link.

By Guillermo Nazara