Yes, that is a long list of contributors at the bottom of the review and it is notable that many of the performers are among that list.
‘Pu Songling: Strange Tales’ is staged this month at Crows Theatre, and it boasts the world premiere as an English translation. It is a cacophony of, well, strange tales told by Theatre Smith-Gilmour’s trademark style of visual buoyancy and movement theatre.
The various fables are stitched together to create a world of imagination and bizarre images of the human foible. The difficulty here is that the stitching requires heavier thread. Understanding that it is meant to be a tapestry of wild tales, some better structural linkage would give the audience a clearer sense of unity.
Pu Songling was a beloved storyteller in China in the 17th and 18th centuries. His tales were a mix of the bizarre and supernatural – tales meant to frighten or delight or evoke our human frailty.
Michele Smith’s direction is that of unabashed movement, rollicking scenes and sometimes, quiet dissertation. The talented cast of Dean Gilmour, Steven Hao, John Ng, Madelaine Hodges and Diana Tso creates a strong ensemble with wide-ranging skills necessary for this wild vision.
To begin, the audience, in anticipation, listens to an ever-growing sound-cacophony of disharmony. The actors enter informally and introduce themselves as if we were at a cocktail party. But the action begins, and we are immediately taken down the boisterous rabbit hole.
Much like our dreams, each scene is a little fuzzy around the borders. Dreamlike scenes include outright horror – beheadings and fight scenes. Also included are scenes of sexual anarchy or moments of magic and sleight of hand.
Highlights include a mystical scene of heads moving above a table, describing a face transplant. A scene reacting to poison tea was notable. A bizarre suicide/hanging effort was almost funny but for the topic.
Diana Tso’s robotic movement work in an early scene was transfixing. Her facial gymnastics gave depth to her performance. Dean Gilmour’s evocative facial contortions became a focus for a number of scenes.
Adding to the ensemble’s repertoire, all sound effects were provided by the actors themselves. Wooden cups provided tympani, brandished swords provided the zing of new steel.
Ting-Huan Christine Urquhart’s set was elegant in its simplicity. A full-sized dining room table with the requisite chairs was more versatile than expected. It became a stage, a suicide platform or a wall hiding sexual encounters. A highlight of Noah Feaver’s lighting design was a series of neon fluorescent lights directly above the stage. The bulbs ranged in colour from cold whiteness to dark reds,, evoking various moods.
This protean ensemble should be applauded for its heavy lifting of a wide range of movement work – almost two hours without intermission.
As mentioned earlier, the structure of the program needed tightening, so we understand the full range of topics. At times, it felt like too many Rorschach tests coming at us at once.
However, the visuals and soundwork are extraordinary, and the choreographed movement is brilliant to experience.
‘THEATRE SMITH-GILMOUR IN ASSOCIATION WITH CROW’S THEATRE present
Pu Songling: Strange Tales
Performers: Dean Gilmour, Steven Hao, John Ng, Madelaine Hodges, Diana Tso
Direction: Michele Smith
Set Design: Ting-Huan Christine Urquhart
Lighting design: Noah Feaver
Runs through: February 1, 2026.
Tickets: crowstheatre.com
