With a group of university friends reunited for a meal, Hongwei Bao’s play invites a culinary appraisal. There is a strong appetiser: we are introduced to China’s Rabbit God (the inspiration for TK Hay’s stylish design), the patron deity of those whose love is not recognised by the world. And Bao continues to be generous, serving up thoughtful reflections on how culture and politics have shaped the lives of his characters. If there is a fault – and it is more a matter of taste – it is that a little too much is on offer: lots of small portions rather than one satisfying main course.
As Tao, visiting home from the UK, greets his old friends, it is clear there is much to catch up on, and Windson Liong gives a strong performance as this endearing character. The members of the group are established quickly: Mei and Ming, now successful professionals, and Lin, who appears to be struggling. The performances from Shin-Fei Chen, Struan Davidson and Michelle Yim are all accomplished, and director Namoo Chae Lee ensures that the relationships between them are easy to follow. Their group dynamic is enjoyable to watch; the reminiscing and rivalry feel recognisable, even if the circumstances are specific.
The problem is that the characters are so clearly vehicles for an argument. Having graduated as journalists, they now debate censorship, with the fate of their former professor looming large. Flashbacks depicting Tao’s love affair with Ming add flavour and tension, and Liong and Davidson are particularly strong in these scenes. Yet even these tender moments are ultimately drawn into the play’s wider debate: Tao chooses freedom, while his former lover decides to “survive inside” the system. It’s clear whose side we are on – but that doesn’t make for much drama.
It’s not that any of this isn’t interesting. To learn about East Asian queer experiences is valid and important. But the script wants to serve too much. You might say there’s a danger of indigestion. Contemporary events feel shoehorned into the narrative, despite their undeniable importance. Likewise, the compromises made by Mei and Ming in pursuit of their careers, contrasted with the more rebellious paths taken by Tao and Lin, fit the play’s thematic framework a little too neatly.
The piece is sustained by the heart that so clearly lies behind it: a labour of love from the new production company Auka. At times, that enthusiasm works against the play, particularly in the more explanatory passages, which seem aimed at educating a British audience. Yet so much care has gone into both the preparation and presentation that Hot Pot is satisfying fare.
Until 21 June 2026 and then on tour until the 5 July 202
Photo by Brett Kasza