Chekhov and Hitchcock “share the stage” in Zhang Hui’s drama “2:22”
China News Service, Beijing, April 30 (Reporter Gao Kai) – The Chinese version of the drama “2:22” has recently concluded its first performance at the Poly Theater in Beijing, leaving the audience with a unique blend of Hitchcockian suspense and Chekhovian cold analysis of life.
Originally premiered at the Noel Coward Theater in the UK in August 2021, “2:22” quickly gained popularity in London’s West End theater scene, winning multiple awards for its gripping suspense and thriller elements layered with insightful explorations of family dynamics and human nature. The play has since been produced in various countries including the United States, South Korea, Australia, and Singapore.
Directed by young Chinese theater director Zhang Hui, the Chinese adaptation of “2:22” stays true to the original script penned by Danny Robbins. With a focus on intricate character development, sharp dialogue, and a seamless blend of daily life with supernatural elements, the play captivates audiences with its rich storytelling and unexpected twists.
In an interview, Zhang Hui shared her approach to adapting the play for Chinese audiences, emphasizing the importance of maintaining the integrity of the original work while also ensuring cultural relevance and understanding. She highlighted the challenges of presenting a dialogue-heavy, single-scene play and the meticulous attention required to bring out the depth and nuances of each character’s lines.
The intricate web of psychology, history, and cultural references woven into the dialogue of “2:22” adds layers of complexity and depth to the stage production, offering audiences a thought-provoking experience that transcends mere entertainment. Zhang Hui expressed confidence in the audience’s ability to connect with the play’s themes of desire, identity, and social change, noting the universality of the human experience depicted in the story.
With a solid script, skilled actors, and innovative stage design, the Chinese version of “2:22” aims to immerse audiences in an authentic British living room drama experience. Zhang Hui’s meticulous approach to character development and dialogue interpretation, combined with the excellent translation of the script, promises a compelling and engaging performance that appeals to fans of both Chekhov and Hitchcock.
As Zhang Hui aptly concluded, “People who like Chekhov may like to watch it, and people who like both Chekhov and Hitchcock may like to watch it more.” The fusion of literary and cinematic influences in “2:22” promises a theatrical experience that lingers long after the final curtain call.