REVIEW: Book of Mountains and Seas - Doutful Choices

©️ Olafur Steinar Rye Gestsson

Presented at the Lyceum as part of the Edinburgh International Festival, Book of Mountains and Seas drew on four Chinese myths: Pangu Creating the World, Jingwei Filling the Sea, Houyi Shooting the Suns, and Kuafu Chasing the Sun - to explore ancient humanity’s relationship with nature.

Musically, the work combined Chinese lyrics with an invented language. The reasoning behind this invented tongue remained obscure, and with Chinese appearing only sparingly, much of the opera’s cultural resonance was lost. Still, composer Huang Ruo’s craftsmanship was evident in the complex rhythmic structures that heightened dramatic tension. The two percussionists, Michael Murphy, John Ostrowski, with their impeccable precision, were a highlight of the evening. The singers from Ars Nova Copenhagen showed technical skill, but since the pronunciation techniques are very different between Chinese and English (or other languages), certain words can limit the clarity of expression

Visually, the staging and lighting felt restrained. The conceit of opening a book of light was inventive, yet the overall palette remained dim and monotonous. Perhaps intended to evoke antiquity, this darkness flattened the piece’s emotional arc. The projections were especially disappointing: whole pages of ancient Chinese text were reduced to single-sentence English summaries, raising the question: for whom was this work truly made?

The puppetry was the production’s strongest element. Six skilled puppeteers moved in perfect unison, animating silk rivers, reconfigurable mountains, and the glowing lanterns of the suns. The moment when Houyi’s arrows pierced the lanterns was elegantly designed, and these touches offered glimpses of genuine theatrical imagination. Yet despite these moments, the stage picture often felt monotonous in tone.

Audience expectations for the Book of Mountains and Seas were high. The original book is a cornerstone of Chinese myth, portraying humanity’s early attempts to understand nature and the universe, as well as the resilience, curiosity, and creativity of ancient Chinese people and culture. But this production failed to convey those essential qualities. Instead, it offered a dark and fragmented vision, without much Chinese elements, leaving little sense of the myths’ vitality or their deep reflection on harmony between human beings and the natural world.

In the end, opera Book of Mountains and Seas represents an attempt to reimagine Chinese mythology as opera for Western stages, but it is one that, unfortunately, fell short of its own ambition.

★★1/2

For more information, please visit: https://www.eif.co.uk/events/book-of-mountains-and-seas

Cast & Credits

Performers:

Music Director & Conductor: Miles Lallemant
Ars Nova Copenhagen: Anna Schubert, Ann Christin H Wesser Ingels, Mari Øyrehagen, Meg Dudley, Laura Lamph, Elenor Wiman, Luís Toscano, James Robinson, Jakob Skjoldborg, Asger Lynge Petersen, Rasmus Kure Thomsen, Mikkel Tuxen
Puppeteers: Emily Batsford, Lute Breuer, Ben Elling, Rosa Elling, Rachel Schapira, Ashley Winkfield
Percussionists: Michael Murphy, John Ostrowski

Creative & Production Teams:

Composer & Librettist: Huang Ruo
Director & Production Designer: Basil Twist
Lighting Designer: Ayumu "Poe" Saegusa
Creative Producer: Beth Morrison
Director of Production: Roderick Murray
Associate Producer: Cori Matos Aguilera
Stage Manager: Natalie Wagner

Credits:

Co-Produced by Beth Morrison Projects, The Big Sing, Ars Nova Copenhagen, and Soundstreams.
Commissioned by Beth Morrison Projects, Ars Nova Copenhagen, Moss Arts Centre at Virginia Tech, Toronto Soundstreams, Koorbiennale, Hong Kong New Vision Arts Festival, and Linda and Stuart Nelson.