The dominant philosophies of Artistic Director Liu Ruo-Yu and Musical Director Huang Chih-Chun are strikingly articulated by U-Theatre (Taiwan)’s fiercely fit and gifted ensemble of drummers, musicians and singers.

On the one hand, the hypnotic rhythm and mesmerising pulse of the concert speaks to Huang Chih-Chun’s belief that “performance is not an outdoor force but is to turn one’s thoughts inwards.” Certainly, despite the beauty on stage, my partner and I found ourselves closing ours eyes now and then, to let the beat of the night engulf us.

Huang Chih-Chun’s faith in meditation as a way of life is also clearly apparent as the ensemble takes a deliberate moment before the centre-stage drum-master (also Huang Chih-Chun) cues each section. The graceful silent slow-motion flow between the five sections of the night, likewise, has a Zen-like calming effect – not something I was expecting to experience from a company famous for it’s rhythmic drive.

On the other hand, Liu Ruo-Yu complementary philosophy that “Art is the presentation of life’s quality” underpins every second of the company’s meticulous craft and presentation. Individually and as one, they are flawless.

Section one; ‘Collapse’, is loud, showcasing the full intensity of the drumming ensemble. Next, the stage is cleared but for musician/gugin Liao Chiou-Yen, the seven strings zither player whose solo prelude to ‘Flowing water’ is warm and resonant. The tone of the zither is like a soft wooden version of a lap steel guitar. The zither is commonly found in Europe as well as Asia, yet her melodies are pentatonic in shape and structure, in particular when she creates divine harmonics close to the bridge.

I find it very reflective – a pleasing interlude after the bombastic opening and before the drumming ensemble paints a glorious picture of raindrops, increasing patter-patter, leading into an almighty torrential downpour. 

The reverberating booms of five large gongs take us into ‘Breakers’, struck by the now bare-chested male ensemble, exquisitely lit (set and lighting Designer Lin Keh-Hua). These incredible instruments produce two discordant notes each time they are struck. For us, it triggers a unique trance-like experience.  

Though undeniably amazing (as is the whole night), while I’m in awe, I am not totally emotionally connected to the work as a whole. However, The Sound of Ocean is not about story-telling and emotional engagement; it’s about appreciating the flow of water, as it represents the flow of life, and that is certainly easy to do that during this collaborative section. 

Seven different musical textures, from Xylophone-like chimes to the extraordinary tangible discord of the gongs, evoke all aspects of the element. The musical texture that is my personal highlight of the night comes from singers Wang Kuan-Chung and Iki Tadaw, both incredible vocalists. The younger man has a clarity in his tenor voice that is rare, while the mature man sings with the most profound and deepest resonance I have ever heard. My partner recognizes it as Tuvan throat singing. This incredible technique makes Frankie Stevens sound like a soprano!

Next, the agility of the ensemble men as they leap into their drumming with passionate commitment in ‘Listening to the Oceanic’s Heart’ reminds me of the historic connection and fusion between Asia and Pacific cultures over many millennia, as there is a familiar Polynesian feel to this rhythm.

The biggest is saved for the final section, ‘Sound of the ocean’ as men stripped back to loin cloths wheel on a drum that dwarfs them all. As the full ensemble converge for the final section, because of the way the mighty drum is staged, we get to fully appreciate the drummer’s craft from a full frontal perspective – truly exhilarating.

Costume designer Tim Yip ensures the heart and discipline of the company is not diminished by gratuitous flashy or showy costumes; they are all modest, unassuming earthy tones, which capture lighting designer Lin Keh-Hua’s subtle lines perfectly. Lin Keh-Hua’s subtle changes in shape and emphasis are employed sparingly and yet to great effect. In particular the use of sidelight articulates and accentuates the chiselled fit frames of performers, as well as their intense concentration.

Throughout the night, designer Rahic Talif’s large and impressive driftwood stands function as frames for the mighty gongs and drums, while standing alone as beautiful and fitting works of art. 

Given that the Pacific Ocean has so recently inflicted such mass destruction, I feel profoundly lucky to be experiencing U-Theatre’s articulation of water as a nourishing element, so far away from Japan’s inconceivable loss. 
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