Related Features
IMPRESSIONS: "ABT@85: Classics to the Contemporary" at Lincoln Center
THE DANCE ENTHUSIAST ASKS: Sarah Silverblatt-Buser's "Collective Body," an Interactive Virtual Reality Dance
IMPRESSIONS: Kevin Matthew Wong's "Benevolence" at Lincoln Center, part of the Under the Radar Festival
By Sabrina Petrelli;@sabrinapetrelli on Instagram
View Profile |
More From This Author
Published on January 22, 2026
Kevin Matthew Wong in "Benevolence" ; Photo: Richard Termine
Benevolence
A Why Not Theatre Production
in association with Tarragon Theatre and Broadleaf Creative
Lincoln Center x Under the Radar, New York City
Creator, Director, Performer, Video Design - Kevin Matthew Wong
Set & Lighting Design - Echo Zhou
Assistant Lighting Designer - Sara Szymanski
Sound Design - Chris Ross-Ewart
Head of Video & Editor - Noel Pendawa
Dramaturg - Yizhou Zhang
Movement Dramaturgy - Brandy Leary
Stage Manager - Tara Mohan
January 8-17th 2026
In the intimate space of the Samuel Rehearsal Studios in Lincoln Center's Rose Building, Kevin Matthew Wong presents a compelling one-person show that blends inventive props, video interviews, singing, acting, and movement. Wong's deft performance skillfully incorporates these elements as he brings us along on the journey to discover his Chinese-Canadian heritage.
Random objects scattered across the stage — a stool, a telephone, a crockpot, an apple, and a compilation of bamboo steamer baskets adorned with a red-and-gold face and wire pom-poms — immediately spark curiosity. At center stage, colorful fabrics drape down from a screen. Wong enters and instantly breaks the ice by inviting two audience members onstage to bang pots and walk in a circle; he then serves them tea. Toward the end of the show, he cuts an apple to share with the audience. These gestures foster warmth and inclusion and reflect Wong's explanation of Hakka culture, in which hospitality is central. (Hakka literally means "guest families".)
A sharp sense of humor becomes evident early on, as a phone keeps ringing while Wong speaks. He pauses to address the rudeness of the interruption, realizing by the third ring that the phone is his. This call becomes the catalyst for the evening, revealing how Wong was asked to create a play about Hakka identity—something he initially knew very little about but agreed to explore.
Nostalgia and tenderness emerge through video footage of Wong's 100-year-old grandmother struggling to remember details and answer questions. Her most meaningful response was a simple, "Health and happiness to all."
As Wong recounts his journey to a temple in Victoria, Canada, we are shown photographs rich with red and gold drapery, banners, and candles. The combination of images, ambient sound, and Wong's calm narration creates a peaceful, meditative atmosphere that mirrors the temple's sanctity. Repeatedly bowing before an altar, Wong "faints," enters a dreamlike state, and introduces an ethereal quality of movement to the work.
The multifaceted and intriguing solo performance concludes powerfully as Wong places the bamboo steamer mask with it's a red-and-gold lion face over his head, while wrapping himself in colorful fabric. He moves dynamically—kicking, jumping, and sweeping the fabric with wing-like arms. This Lion Dance symbolizes good fortune and celebrates life. Wong, who at first, admitted to feeling like an outsider, ultimately confidently claims a place in his culture.
