In Fujian province in China, the phrase “Ah-ma” is used to mean grandmother. This performance follows the story of one Ah-ma in particular, through the lens of her granddaughter closest to her. As Ah-ma is battling against dementia, her granddaughter recounts memories of her childhood spent with her, and their endless phone calls even after she left to study in the US. But as these memories slip away from Ah-ma and she no longer recognises her family, the play has a powerful message: even as people’s memories fade, they are still loved and most crucially, they are still the person they have always been.
The narrative-like script of Ah-Ma is wonderfully thought out, with beautiful lines holding such power, as if a piece of poetry. A favourite of mine was “no matter how long recovery takes, the Earth will find a way to grow.” Though referencing the rebuilding of a community after a fire, the line resonates with a lot of the play and life as a whole.
Central to the high execution of Ah-Ma is Kasen Tsui’s incredible acting. Though flitting between generations and stories, Kasen Tsui consistently delivers such a convincing performance, whether as a playful child running around, or an elderly Ah-ma loosing faith in herself. The emotion she brings to both roles really brings to life the play’s story, leaving an impression on your mind long after the performance has finished.
Additionally, the play is a beautiful example of how impactful simplicity can be in theatre, with only a chair, a shirt, and a notebook being used for staging and props. But they are so craftily distorted and transformed throughout that their impact runs deep, such as the shirt being used to represent a baby and the chair becoming a wheelchair.
Altogether, Ah-Ma is a one-of-a-kind piece of theatre that brings to life a true story so exquisitely it earns its right to be in your calendar this Fringe.
Ah-ma is running until 19 August (excluding 10th) at Studio at theSpace at Niddry Street.
Buy tickets here.
Image provided to The Student by Ah-Ma.