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So The Arrow Flies by Esther K. Chae

Reviewed by Matt Johnson
The psychologically dark and sinister 'So the Arrow Flies' made its European debut at the Edinburgh Fringe this year, with profound impact upon its audience. With a 20 minute excerpt from the full hour long production, created and performed by Esther K. Chae, it explores the broad and emotive themes of cultural identity, political ideology, family relationships and human integrity. Chae skillfully absorbs the audience into a world of espionage and deception through a powerful and compelling script, yet it is more than just the story that makes this production so fascinatingly gripping. The drama focuses upon four characters, divided between two mother-daughter relationships. At the centre of the plot is the interrogation of Korean doubleagent, Catherine Park, by an FBI agent, coincidently also named Park. Both share the same name, sex and national heritage, however, each exhibits significantly opposed political beliefs and allegiances. The plot is further expanded by two more characters, Agent Park's traditional and doting Korean mother, and Catherine's culturally Americanized daughter, Mina. Chae portrays all of these characters herself, without costume change or even leaving the stage; using just the swivel of a chair and the alteration of accent and manner in her metamorphosis between personae. Im stuck for a word that can describe such a performance. Is it a monologue? There is only one performer; yet I feel tempted to make up a word and describe the play as a polilogue a multi-polar performance, that presents a discourse between different characters, but is expressed through the mouth and conduct of one solo actor. Chae gives a truly mesmerizing, captivating performance, with each personality being finely crafted and defined, brought to life to allow the multi-faceted plot line to be delicately peeled back, only to reveal deeper layers of intrigue beneath. She demonstrates a clear and astute understanding of the complexities of cultural diversity through generations, as she competently tackles this highly topical, political subject. To cram so much into such a short fraction of an entire story, speaks volumes for Chae's writing and performing skills. It leaves the audience so curious about the fate of each character and desperate to delve deeper into the story so-as-to unravel the mystery this sequence of events weaves. This is an exceptional and harrowing work of 21st century political theatre that demands to be seen to be believed. *** Issue 23 - Sunday 24th August - Editor's Award Winners Sweet Venues where Esther Chae opened for 6 nights wins Editors Award for creating a brilliant, well-priced and performer-friendly new bar and open mic stage at the heart of the Fringe, in the form of La Sweet Cantina.