Tensions in Shangri-La

Daniel Nelson

Shangri-La

Image by Finborough Theatre

Amy Ng’s first full-length play is an ambitious attempt to look at the positives and negatives of cultural tourism, in this case in Tibet.

Bunny is from Shangri-La - named to cash in on the Western craving for a real-life, hidden Himalayan paradise that was boosted by James Hilton’s 1933 novel of the same name.

The taboos she learns as a Naxi ethnic minority child are pithily established in the opening scene, and the tension in the play stems from her breaking of two of these taboos.

She is persuaded and cajoled into doing so by two Western women (one of whom is named Hope), through the temptations of self-betterment, artistic skill, preserving a disappearing culture, and money (not for herself but for the idealistic travel company entrepreneur for whom she works).

A fellow Naxi, Karma Tsering, offers an entertaining counterpoint: known as a political informer, he  combines personal ambition with sexual and business opportunism, but is the rescuer of the Living Buddha.

It is to Ng’s credit that her characters can embrace complexity, though those that don’t, such as Authentic China owner Nelson Wong, appear rather colourless.

And she packs a lot of intelligent debate about cultural tourism, “authenticity” and the wants and needs of indigenous peoples – as well as humour – into 70 minutes. It never quite crackles with electricity and personal conflict (perhaps partly because we audiences have become so accustomed to dramas based on relationships rather than ideas), but it’s intelligent theatre – a word combination to be treasured.

+ 22 July, Framing The Other, screening introduced by Helen Jennings

* Shangri-La is at the Finborough Theatre, 118 Finborough Road, SW10, until 6 August; £16/£14. Info: 7244 7439/admin@finboroughtheatre.co.uk

+ When Shangri-La is not all it seems