In the May 2014 issue of Travel and Leisure magazine, one of my favorite writers Gary Shteyngart writes an astringent yet admiring profile of Beijing and says “This is where it’s at. Beijing, China’s political capital, is where the future will be partly decided and packaged and presented to large swaths of the globe.” In last Sunday’s premiere of his critically-acclaimed CNN TV show Parts Unknown, my other favorite writer/raconteur Anthony Bourdain says ironically yet admiringly of Shanghai “What is the future? I don’t know. But to a very great extent, it is surely being determined here. Is there a plan? Probably not. Only appetites.” Many of us who care about the world believe that the 21st century is the “Asian century” with China as its economic linchpin. So a play like Frances Ya-Chu Cowhig’s The World of Extreme Happiness, now receiving a world premiere production at the Goodman Theater before it transfers off-Broadway to the Manhattan Theater Club in February 2015, depicting stories of both urbanites and rural workers driving China’s economic growth, is timely, vital, intriguing. Unfortunately, Cowhig’s play, despite telling fresh narratives that we’ve not seen recently on Chicago stages, is marred by meandering plot threads that dead end in the ether and a perplexing tone that for most of the two hours border on a Sarah Silverman-meets-The Hangover in Asia mélange of toilet humor, slapstick, and broad characterizations. Great concept, flawed execution.
Tags: Goodman Theater