Golden Blood review

In Golden Blood, a 14-year-old girl is left under the care of her 21-year-old brother, whom she hasn't seen for seven years, after the death of her mother. Through him, she is introduced to the world of gangs, drugs and violence, and it isn't long until this begins to enter the sanctuary of her home and changes the way she remembers her life before she became an orphan.

Merlynn Tong's performance as Girl is quite impressive given that we first see the character at 14 and watch as she grows into a 21-year-old woman. Her physicality, facial expressions and language is authentic and she perfectly captures the innocence of a child and the gradual erosion of that as she faces the harsh realities of life. Charles Wu as Boy delivers an equally remarkable turn as he presents himself with youthful bravado while allowing flashes of vulnerability to emerge as the trauma of his childhood becomes impossible to hide. The two make an exceptional pair and the brother-sister bond (or lack off) is easily established and deepened during the show.

Having spent a few days in Singapore last month, it's intriguing watching this criminal underworld be explored in Golden Blood. It's not something that I, as a tourist, noticed or even had an inkling of, and Tong does an outstanding job of bringing this part of the city to the stage while keeping the story intimate within the confines of the home. There is a good balance of comedy and drama in her writing with the beginning leaning towards the humourous side, reflective of Girl's initial naivety. As she gets older and becomes aware of the world around her, the darker the narrative gets and the more invested you become in what is going to happen to these people. The conclusion feels like it pushes too hard for a "happy ending" and leans into melodrama a bit too much but it's still a satisfying and fitting way to see where Boy and Girl end up.

Michael Hankin's set design takes us into the home of Boy and Girl. It's large and spacious with a golden shine covering the floor but at the same time, it is empty bar for a cheap futon and red plastic stools, hinting at the affluence they seek but also the reality they're in. Similarly, Rainbow Chan's score and sound heightens the tension and allows us to understand the feelings and emotions that the two are enduring.

Fausto Brusamolino's incredibly emotive lighting design includes jarring red strobe lights to depict the siblings spiralling or having a drug taking adventure, and lighting up the entire space when they are either exposing themselves or being exposed. Brusamolino manages to create one of the most memorable and unsettling moments of Golden Blood when the venue goes dark except for a bright almost golden-like light shining across Tongs's eyes when appearing as the spirit of their dead mother. The direction by Tessa Leong is handled so expertly that the anguish that Boy and Girl are going through becomes palpable here. The stage is intelligently used so that there is a clear distinction between scenes and helps draw us into Boy and Girls' frame of minds.

This is a highly entertaining work that explores universal themes of family relationships, grief and trauma within a Singapore setting. An admirable team of creatives have come together with a combined vision that lifts Golden Blood to soaring heights, and if Tong is part of the rising generation of new Australia writers and actors, then we are in for some exciting times ahead.

SHOW DETAILS

Venue: Arts Centre Melbourne, 100 St Kilda Rd, Melbourne
Season: until 30 November | Mon - Tues 6:30pm, Wed - Sat 7:30pm, Wed & Sat 2pm
Duration: 
90 mins
Tickets: $59 - $118

Bookings: Melbourne Theatre Company

Image credit: Prudence Upton