Pan Asian Repertory Theatre’s current production—the world premiere of Damon Chua’s Incident at Hidden Temple—is an evocative reminder of a pivotal piece of World War II history, and its title reminiscent of my favorite mystery novels—the Tang Dynasty adventures of Judge Dee. Part noir murder mystery and part political showdown, the play takes place in Southwest China in 1943. Under the direction of Kaipo Schwab, the production opened January 26 at Clurman Theatre at Theatre Row.
U.S. Flying Tigers squadrons are helping the Chinese Nationalists led by Chiang Kai-Shek (played by Dinh James Doan). In the first of the play’s many short scenes, an American pilot (Nick Jordan) is murdered by a Chinese woman (Rosanne Ma).
Nearby, a train stops at a place called Hidden Temple, and journalism student Ava Chao (Ying Ying Li) disembarks to stretch her legs. She meets Chinese-American pilot trainee Walter Hu (Tim Liu) and a mysterious blind man (also played by Dinh James Doan).
Ava’s younger sister Lucy (Briana Sakamoto) also talks to the blind man, who tells her a story. In one of the play’s most charming moments, he and she act out the story using classical Chinese gestures and body movements. When Lucy disappears, Ava seeks help in finding her from U.S. General Cliff Van Holt (Jonathan Miles), head of a Flying Tigers squadron.
Soon, several mysteries are in play. Why was the pilot killed? Why is Walter Hu pretending to be someone else? What happened to Lucy? Will any of the characters ever be pure enough in heart to see the hidden temple?
Meanwhile, on the stage of world power politics, larger issues are unresolved. Van Holt wants to cooperate with Chiang and build a forward air base in the eastern region of China from which U.S. planes can attack the Japanese islands directly. General Stillwell, through his aide (Nick Jordan), opposes this plan. The Japanese are the immediate threat, but Mao’s Communist forces in the north also must be reckoned with.
Act One does a good job in setting up the multiple conflicts and questions. While Act Two has resonant moments, it isn’t as strong, relying on some unlikely coincidences and encounters. Ultimately, though the story questions are answered (except the biggest one, which the playwright leaves to the audience), there’s almost too much to bring together smoothly.
The staging and the acting overall are excellent, with Dinh James Doan and Ying Ying Li deserving special mention. Set designer Sheryl Liu, in tandem with Pamela Kupper (lighting), creates just the right amount of moody atmospherics on a stripped-down stage.