Review by William Chan
The 23rd Macao City Fringe Festival concluded on Sunday with its final event, “Fringe Chat,” at Universal Gallery & Bookstore in Praça do Tap Seac, where around 20 attendees, including critics, show organisers, artists, and members of the public gave their insights.
The session fostered meaningful dialogue about the unique features and highlights of this year’s edition. “Fringe Chat,” a decade-long tradition of the Macau Fringe Festival, was hosted this year by Jesse Cheong Sio Pang. The event served as an open forum where participants reflected on their experiences and the overarching themes of the festival.
I also attended last year’s Fringe Chat and wrote a short article about the event: https://www.macaupostdaily.com/news/20527
One of the standout shows discussed during the session was “A Sea in the Old House of Orchid.” This production was extensively reviewed in the Post earlier this month*, and it remains my personal favourite from this year’s Fringe Festival.
Another production that drew attention was “Dreamless Machine, Useless Class,” performed by PO Art Studio. This show critiques capitalist societies and explores the impact of artificial intelligence (AI) in replacing human labour. It was one of the incubation projects for the 2024 Shekou Theatre Festival and was previously performed in Xiamen before reaching Macau for the Fringe Festival.
In the interactive show, the audience was encouraged to actively make propositions and give assistance to the actors. The organiser reflected on the contrasting audience reactions between Xiamen and Macau. In Xiamen, where the show was performed in a shopping mall, children reacted enthusiastically. During the final scene, when a performer was “fired” and kicked off the stage, children intervened by chasing after the actors to stop the dismissal.
In contrast, the Macau audience exhibited a much cooler and more indifferent reaction when the show was performed at the Lisboeta Macau resort in Cotai. Few audience members engaged with the performers, prompting reflections on cultural differences and the perceived distance between performers and spectators.
“Thanks for Being Here,” created and performed by Malaysia-based artist Suzuki Cheng (程嘉敏), was another notable production that left a deep impression on both the audience and critics.** This immersive performance invited audiences to move around the stage, experiencing the intertwined stories of three women grappling with social critiques on marriage, work-life balance, and motherhood.
Cheng shared a touching anecdote about an elderly woman who attended the performance. She said that during a scene where the actresses, each holding a pillow symbolising a crying baby, ran to the audience for help, the woman stepped in. “She took one of the pillows and used her maternal instincts to calm the ‘baby,’ crying herself in the process.”
After the show, the woman revealed to Cheng that this was the first time that she had attended a theatre performance. She expressed gratitude, saying the experience changed her perspective on art, showing her that it isn’t elitist but accessible to everyone. Cheng remarked, “She told me she thoroughly enjoyed the show and felt art could be egalitarian, even at her age.”
Cheng also noted the growing popularity of immersive performances, explaining that this approach helps create a stronger bond between the audience and the performers. She likened it to the “Murder Mystery Game” (劇本殺), a genre of live-action role-playing games currently popular in the Chinese mainland, where audiences leave their seats and actively engage with the story.
Reflecting on the Fringe Festival as a whole, Cheong praised this year’s theme of transforming urban corners into stages. The performances encouraged audiences to explore various parts of Macau, from the peninsula to Taipa, Cotai, and Coloane, creating lasting memories tied to these familiar locations. Critics highlighted the festival’s success in using Macau’s cultural and historic landmarks as performance spaces, particularly for shows focusing on intangible cultural heritage.
“By integrating these sites into the performances, the festival offered a unique and immersive way to experience Macau’s rich history and culture. While the festival explored diverse themes, the central focus remained on creating dynamic experiences that left a lasting impression on audiences,” Cheong said.
Critics noted that the 23rd Macao City Fringe Festival once again proved the power of art to inspire, provoke reflection, and bridge the gap between performers and spectators.
As the festival continues to evolve, it promises to further enrich Macau’s vibrant cultural landscape.
* https://www.macaupostdaily.com/news/26073
**
https://www.macaupostdaily.com/news/25825
Jesse Cheong Sio Pang addresses Sunday’s Fringe Chat at Universal Gallery & Bookstore in Tap Seac.
A audience member interacts with a “Dreamless Machine, Useless Class” performer at the Lisboeta Macau resort in Cotai earlier this month.
Performer Suzuki Cheng (넋셰츌) interacts with an audience member (left) during the festival’s “Thanks for Being Here” show earlier this month.
– Photos provided by the festival organisers
