Hello Kitty Must Die review – musical revenge on east Asian stereotypes

hello-kitty-must-die-review-–-musical-revenge-on-east-asian-stereotypes
Hello Kitty Must Die review – musical revenge on east Asian stereotypes

Pleasance Courtyard, Edinburgh
This cult novel adaptation follows one woman’s journey toward self-determination, though it needs more work before it’s a killer hit

This musical comes with impressive credentials: based on the cult novel by Angela S Choi (now Kate Kamen) and produced by the team behind the musical Six, it takes the cutesy Hello Kitty motif and blends it with murderous black comedy to send up stereotypes of east Asian femininity.

It starts off like a contemporary version of Six, with five American performers of east Asian heritage standing in formation, almost all in sleek, monochromatic black. Co-adapted by Gail Rastorfer
and Kurt Johns, the show opens with the title number and proceeds to tell the story of Fiona Yu (Sami Ma) a 30-year-old Chinese American lawyer, and virgin. She is intent on defying the reductive cliches about east Asian womanhood in the white world at large, as well as family pressures at home, where her father is intent on getting her married.

At Pleasance Courtyard, Edinburgh, until 27 August

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