MONKEY Journey to the West

What Fun! John Bell, Kim Carpenter and their talented cast and crew have made Donna Abela’s witty script spring into colourful, nostalgic, vibrant – and very funny – life. 

It might seem an inconceivable task to transfer to the stage the almost unbelievable quests and antics of the dubbed television shows you remember, but, inspired by two productions of Monkey in Asia, Carpenter found an English translation of the original three-volume, 1,500 page novel, and, with Abela, “dived into … the rich and amazing stories” therein. Using the best of these, they have created a “complete, fantastical action-packed stage adventure” that captures all the “vivid beauty, mad-cap humour, mythology and exciting battles” of the original text.

It is a perfect vehicle for Theatre of Image and all the light and sound and physical effects that are their trademarks. Bamboo scaffolding frames a high screen above a wooden ‘bridge’. Vivid projections light the screen as a Priest, and his unlikely trio of protectors - Monkey himself, Pigsy and Sandy – begin their 20 year pilgrimage to India led by the promise of the Queen of Heaven and the Buddha.

Puppets of all kinds – small, enormous, shadow, dragon-style – meet and attack them. Amazing creatures arise from swollen rivers, impenetrable mountains and wide seas to thwart and tempt them. Lights (Sian James-Holland), sounds and live music (composed and played by Peter Kennard) create a plethora of moods and transformations. And there is constant action augmented by acrobatics and fast, complicated choreography devised by movement director Scott Witt.

The cast work hard, but appear to be enjoying every action-packed minute. Tight 

ensemble work is imperative – on stage, back stage, sound, lighting – all must co-ordinate perfectly in a production that combines so much movement, so many scenes and so much theatricality. 

As the priest, Tripitaka, Aileen Huynh is serenely inscrutable. She almost glides around the stage, her economical movement and sedate composure indicative of Tripitaka’s serious intent – a stark contrast to the mischievous Monkey whom he releases from ages long captivity to champion him as he begins his daunting quest to bring peace, harmony and happiness to China and its people.

Aljin Abella is Monkey. Small and agile, he flips into trouble, rolls out of danger, swings up the scaffolding and is, at every moment, cheekily appealing. He is a constant source of devilment and his funny asides, wide-eyed suggestions and abounding energy really reach out and grab the audience.

Not far into their journey they meet the obese, lascivious Pigsy. Darren Gilshenan revels in this, another role where his comic timing, throaty laugh, physical pratfalls and wicked asides are obscenely engaging. Pigsy is the most unlikely of travelling companions, but with his trusty rake-cum-pitchfork, he is the second of Tripitaka’s companions. 

Crossing a river the three face a nasty sea dragon from which emerges the long-haired, cliché-quoting hippy, Sandy, who becomes the third of the priest’s protectors. Justin Smith is beguiling and unbelievably laid back in this role. Long grey hair, a multi-coloured headband, floral shirt, three quarter pants, odd socks and sandals certainly help establish the character, but his laconic reactions are a perfect contrast to the over-active Monkey, lewd Pigsy and intense Tripitaka.

Together these four continue the journey, the many years depicted by shadow puppets traversing differing landforms on the screen and taking them to the many pitfalls and temptations they must face, including the enormous White Bone Demon who hovers high above the stage, white hands waving, clasping and threatening and from whom emerge Demon Spirits who try to tempt Tripitaka, Pigsy and Sandy despite Monkey’s warnings of their duplicity.

Anthony Taufa is the voice of the White Bone Demon, as well as Buddha, Mr Gao, (Pigsy’s father-in-law), a Local God, Mr Singh and the Great King of Miracles! In each role he is strong and totally convincing – and some of his costumes are absolutely stunning.

Ivy Mak also plays many roles, from the silvery Queen of Heaven, to the Old Hag-Goddess of Mercy, a Demon Spirit and the Mandarin Fish. 

Lia Reutens plays a Spider Spirit and the Cynical Shrimp as well as joining Troy Honeysett and Team 9Lives (Tim Farley, Joshua Tieu and Jair Coronado) as the ever-changing, fast-moving acrobatic support cast, who become soldiers, dragons, sea creatures, birds, servants and deft puppeteers. It is they who suggest and sustain the pace and action that mirrors that of the television series.

The beautifully pastel-drawn scenes that are projected behind the action and the creative costumes are an intricate part of this colourful production that has universal appeal. Costumes, characters, action, set, light and sound combine to create a performance that brings together the young and old, East and West in the best possible way.

Carol Wimmer