The Madonna of Asia – New Theatre – Review
by Frank L.

Dates: 28/04/2026 – 02/05/2026

Remarkably, Ní Chléirigh-Ng not only wrote this piece but also designed the set and costumes, created the video elements, and directed the production—including casting. Such a level of creative control is impressive, and it is fully realised on stage.

The principal character, Rin Asari (Mai Ishikawa), was once famous in Hong Kong as both a singer and a writer. Having stepped away from global fame, she re-emerges years later, living a quiet, almost reclusive life in Dublin. Through the wonders of modern technology, she connects with Tara (Clare Barrett), an Irish woman living in Hong Kong, who appears via video and voiceover. Rin’s hermit-like existence is disrupted when she receives an unexpected invitation to return to the screen.

The title The Madonna of Asia encapsulates the cultural divides between East and West. These differences are further underscored by the contrasting ways in which Tara and Rin speak English. The play also incorporates Cantonese and Japanese, layering multiple cultural textures, though Rin and her personal journey remain at its core. Ní Chléirigh-Ng’s fascination with the golden age of Hong Kong cinema—no doubt influenced by her familial ties—is evident throughout, as is her interest in the interplay between theatre and film. She projects imagery onto the back wall and even onto the stage floor, all executed with technical finesse and captivating effect.

Although Ishikawa is physically alone on stage, Rin is constantly accompanied by projected video presences. Ní Chléirigh-Ng integrates these elements seamlessly. Dressed simply in loose black trousers and a matching top, Ishikawa moves with deliberate, controlled gestures, conveying a sense of emotional distance. Tara, though never physically present, is vividly realised through Barrett’s voice, which lends her a palpable presence. The interaction between live performance and video is frequent and striking, creating moments of quiet theatrical magic.

Ní Chléirigh-Ng and Ishikawa leave little to chance. Through precise editing and the careful layering of visual and auditory elements, they draw the audience into an entirely new space. By blending theatrical and cinematic techniques, they cultivate a hybrid form that expands the possibilities of both mediums—visually and aurally. The result is an inventive night at the theatre.

Writer, Director, Set, Costume & Video Designer
Choy-Ping Ní Chléirigh-Ng 吳彩萍

Script Developed Through a Workshop With
Clare Barrett and Mai Ishikawa

Script Translation
Japanese: Mai Ishikawa
Cantonese: Agnes Hui 許雅名

Lighting Designer
Matt Burke

Sound Designer
Lara Gallagher

Dance Choreographer
Yumi Lee

Fight Choreographer
Niamh Hogan

Hair and Makeup for Serina
Tee Elliott

Producer and Dramaturg
Ultan Pringle

Production Manager, Video Assistant & Video / Sound Op
Jack Leitch

Outside Eye
Eoghan Carrick