The drama of May 35th
Daniel Nelson
May 35th is a play about a date that doesn’t exist, on a subject that in China is taboo, presented by a group many of whom must conceal their real names.
It’s a shame that it is on for only four days because it is part of an effort to maintain the government-suppressed memory of the Tiananmen Square massacre in China on 4 June 1989 when tens of thousands of protesters were killed by army tanks and guns.
The authorities even clamped down on use of the date as a codeword for the killings – thus the play’s title.
It was performed in HongKong, because it’s a strong piece of theatre and also because of its relevance to the territory’s own democracy movement. But Beijing’s ever-tightening security laws have meant that productions have been impossible since 2020.
It is overtly agitprop in intent, but it’s also genuinely moving, because it focuses on an elderly, dying couple whose son was killed in the Square … “that truly belongs to the people”.
Their relationship is beautifully drawn: the arguments, the irascibility of poor health, the outbursts of anger, the affections, the mutual dependence after decades of marriage, the resignation of approaching death, the regrets, the strain of keeping a secret for years, the humour: it’s a touching picture not often seen on the London stage.
United by the death of their son, they are divided by their reactions. They cook up a naive but dangerous plan to go to the Square to hold a proper ritual on the spot where their son was murdered.
But will they succeed in the face of their physical feebleness, the cravenness of the husband’s apparatchik brother and the efficiency of state surveillance?
The play is the first London production by Stage June Fourth, a non-profit drama company previously based in Hong Kong. For many of the company, it’s personal.
Founder and producer Ming Wai Lit has said, “Following the implementation of the National Security Law in 2020, several of my friends were arrested for organising a peaceful candlelight vigil. My friend, Chow Hang-tung, a human rights lawyer, was imprisoned for encouraging people on social media to light candles at home.
“Since then, I have lived in fear and felt unsafe, leading me to the difficult decision to leave Hong Kong in 2021. I am now based in the UK.
“I am eager to present the award-winning play May 35th to English-speaking audiences in London. Banned in Hong Kong, preserving it overseas acts as a significant platform for preserving historical truth and amplifying voices that were silenced.”
She said that she and director Kim Pearce “share the ambition to give a voice to the silenced voices of the Tiananmen Mothers. Our aim is to inspire dialogue and reflection on themes of freedom and resilience. This production underscores our commitment to storytelling that resonates deeply and fosters meaningful change.”
Kerry Moscogiuri, Amnesty International UK’s campaigns and communications director, also said in support, “Amnesty International is supporting this important play because it’s a powerful and timely reminder of bloody crackdown against peaceful protesters and the brutal oppression that continues to crush people’s right to express any form of dissent.
“The Government’s determination to silence Chinese and Hong Kong activists, journalists and students through force and intimidation extends far beyond its borders to communities here in the UK and beyond. The authorities must not be allowed to get away with their ruthless suppression and efforts to eliminate the crackdown from people’s memory. Discussing Tiananmen is banned in China and Hong Kong and seeing this play here is one way to break the silence and keep truth alive.”
* May 35th, £28/ £22.50, is at the Southwark Playhouse Elephant, Dante Place, 80 Newington Butts, SE11 4FL until 1 June. Info: https://southwarkplayhouse.co.uk/productions/may-35th/
+ Q&As, 30 May, 7.45pm, Sacha Deshmukh and Shao Jiang; 31 May, 7.45pm, Nathan Law; 1 June, 2.30pm, Benedict Rogers