Review of ‘Hot Pot’: “Simmering tension quickly goes cold”

It’s a hard swallow. Not because it’s too raw to digest. And definitely not because it comes across as too sugarcoated. The thing is, there are barely any flavours to analyse in Hongwei Bao’s overall bland play, which celebrated its world premiere at London’s Playhouse East last week and lacks the spice, heat, and elaborateness that audiences with a middle-to-high dramatic palate would demand.

Four friends reunite over dinner years after finishing University. They all wanted to become journalists, but life has played very different roles for each of them. Tao has started a new path as an independent filmmaker in London. Mei still hasn’t left her parents’ home and is struggling to build a career as a literary author. On the opposite side, Ming and Lin have climbed to the top of their professional ladders, but at the cost of their integrity — and most importantly, their happiness.

It might be thematically powerful, but there’s not enough substance in what eventually comes out as quite a disappointing, insipid, and ultimately unfulfilling story. There’s nothing in the menu that makes up for the many executional errors the play suffers from, which concern pacing, subtext, flow, and structure.

The tension is almost nonexistent, which is baffling- and rather concerning -given the plot’s nature. The topics are varied and gripping: China’s political oppression, the persecution of free speech, and a difficult romantic relationship between Tao and Ming, doomed to secrecy by Tao’s inability to free himself from cultural tradition and family expectations.

One would assume that such biting ingredients would have resulted in a satisfying dish — the kind that holds considerable narrative weight. In truth, there’s something hefty about it. But that’s just how heavy-handed the whole thing is. It couldn’t be further away from what it was destined to be. Instead of a well-crafted piece of theatrical artisanry, all we’re given is an artificial product with no traces of heart, perceptiveness, or insight in its recipe.

The dialogue is extremely clunky. All the lines sound excruciatingly inorganic. And there’s no subtlety to them. Despite the characters’ existential crisis, the script doesn’t delve sufficiently into their psychology. We can’t empathise with them, let alone root for them. None of the arcs is properly defined to bond with the viewer. Consequently, all that we can do is watch — but never in delight, as everything comes off shallow at best and cliched and melodramatic at worst.

Overall, there is too much exposition, which makes up for almost the entire play. Although there is conflict, it is vapidly explored. We could even say that it isn’t explored at all, as its conclusion is presented in full form too early on. The absence of a developed third act just makes matters worse. There is some reflectiveness to it, but once again, it’s superficial. And in the end, it’s a journey where all its elements remain stagnant and unevolved. And that makes it rather pointless.

The company is somewhat adequate, but the flaws are too prominent to ignore. Although the cast demonstrates som e rapport, there’s not enough nuance, flair, or even credibility in their portrayals. Struan Davidson gives the most convincing rendition as Ming, but his performance is nonetheless flat. And sadly, the rest can only go lower.

Despite a promising mise en place, Hot Plot delivers an exceedingly undercooked narrative, which most viewers are unlikely to find remotely appetising. Every opportunity for compelling storytelling is left on the back burner. And inevitably, its current incarnation is plated with little grace and next to no resourcefulness. It could have been tearfully poignant. And loudly resonant. Yet, no matter how many times the protagonists stoke the broth, the play is completely incapable of stirring its audience.

All pictures credit to Brett Kasza.

Hot Pot is on tour across the UK until 5 July. Tickets and venue information are available on the following link.

By Guillermo Nazara