Iconic Big Trouble in Little China star dies as tributes pour in from fans
The actor died in his sleep on Tuesday night, with his representative sharing no further details. The Californian actor took on roles in The A-Team, Wonder Woman, Little House of the Prairie and Miami Vice throughout the '70s and '80s.
Since the sad news broke, Peter's fans have taken to social media to pay tribute to the iconic film star. One wrote on X: "Peter Kwong who played Rain in Big Trouble in Little China has sadly passed away. Another small piece of our childhood gone. RIP."
Another tweeted: "This is shocking and I'm saddened that Peter Kwong, the actor who played "RAIN" has passed away in his sleep overnight at the age of 73. Peter, will forever be to me, RAIN, the coolest cat, ever with long locks to wear a two piece suit! #RIP."
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Scotsman
8 hours ago
- Scotsman
Edinburgh Fringe Theatre reviews: Falling
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Falling: A Disabled Love Story Pleasance Courtyard (Venue 33) ★★★★☆ What kind of life story would you like a disabled performer to tell you? One of resilience and determination, of overcoming the odds, of self-discovery, even rehabilitation? Or one of arbitrary injury, endless pain and frustration, a struggle for hope, limited prospects? If you're paying for a ticket and watching a show, it's pretty clear which option you'd probably go for – and it's a question that Californian writer/performer Aaron Pang plays on mischievously (and to telling, rug-pulling effect) in his sly autobiographical comedy Falling. Aaron Pang in Falling: A Disabled Love Story | Kaelan Novak He's a bold, confident performer – and, obviously, a devastatingly handsome one, as he grinningly tells us – disarmingly disrobing to display the fallout of his spinal injury one moment, only to admit to embellishing or entirely fabricating a story the next. It's almost as if he's out to give us what we expect – and then to draw attention to the ridiculousness of what we've just swallowed, or the impossibility that any of it could be true. Should we be more willing to believe the profound insights that a disabled performer offers us? Or is that just yet another example of a patronising, ill-informed perspective – one that Pang will mercilessly skewer a few seconds later? Advertisement Hide Ad Advertisement Hide Ad Yes, Falling is a slippery, elusive show, and even Pang's apparently honest, authentic ending (you get to choose from two) raises more questions than it answers. Is he really being quite so unflinchingly frank about one of the most intimate areas of disabled life, or is it all another bluff? Despite its gentle audience-baiting, however, Falling is a winning mix of stand-up and solo theatre, and rather than weepie autobiography, it asks us to reconsider our relationship to disability, and to the artifice of theatre itself. To do that with a smile, a wagging finger and buckets of boyish charm is quite the achievement. DAVID KETTLE until 25 August Ben Moor: A Three Thing Day Pleasance Courtyard (Venue 33) ★★★★☆ Ben Moor has carved out a highly specific niche for comedy-theatre-monologues full of wordplay, one-liners and glorious flights of surrealism. This year's three-act extravaganza is an object lesson in inventiveness, taking the framework of a (fairly) ordinary day and weaving around it a glorious tapestry of fact, fiction and flights of fancy. There's plenty here which is funny and startlingly well observed: a man in 'a double-bluff wig'; a person with 'surprising and disconcerting warmth like a kitchen composter'; 'sconces that look like scones', or a word like 'thrug' – a hug between three people. Advertisement Hide Ad Advertisement Hide Ad But cleverness alone is not enough. In amongst the humour – the surreal (a dolphin infestation in the cellar) and the occasional knock-knock joke – there is a poignant account of a friend's funeral, the 'blanditudes' of the celebrant, the strangeness of clearing a house when the occupant is no longer there and, later, a beautifully observed encounter between the protagonist and his baby niece. The third part ramps up the surrealism as rail delays and diversions conspire against Moor getting back in time for the opening of his exhibition, The Periodic Table of the Elephant in the Room. But at least he has a rail companion with a story (within a story) to tell. Moor isn't dramatic, rather he tends to deliver his monologue in the same even tone. But there is great liveliness in the language, and the original music, composed and recorded by Simon Oakes and the Suns of the Tundra, sketches out a backdrop of moods. Moor's style won't be for everyone, but this show is perfect for anyone who loves a Borgesian knot laced with plenty of playfulness, and a warm-hearted reminder of how strange ordinary life can be. SUSAN MANSFIELD until 25 August Painkillers Summerhall (Venue 26) ★★★☆☆ Glasgow-based multi-disciplinary theatre-maker and performer Mamoru Iriguchi's solo works are the very spirit of classic fringe theatre, bringing weird thoughts and esoteric whims to life just to see what happens when they're made flesh as performance. This means Painkillers is both compellingly odd and bafflingly difficult to get a grip on. Advertisement Hide Ad Advertisement Hide Ad This is, in fact, an earlier work of Iriguchi's, performed in a different version at the Yard Theatre in London in 2014. Scanning the QR code on the door reveals a webpage explaining his inspirations and thought processes in greater detail, but I'm glad I experienced the performance without putting any preconceived ideas in place. In an ill-fitting fatsuit and cocktail dress, Iriguchi is Anastasia, assistant to magician Alessandro, who's performing a mimed bullet catch trick with a member of the audience. Identities flip on a dime, as Anastasia reveals the magician's name is really Mamoru, the name engraved on the bullet, while she is really Mari (a reference to Japanese entertainer Mari Amachi). A wheeled, decorated hospital screen backdrop flips to show us onstage and backstage views of Iriguchi's world, while he eventually carves his slim, flesh-suited self from the fatsuit, padding doubling as gore, and disappears into his own reflection. The finer technical complexities and audience interactions of all this balance on a knife edge, but it's certainly evocative and pleasingly, amusingly mystifying. DAVID POLLOCK until 25 August Single Use Pleasance Courtyard (Venue 33) ★★★☆☆ Plastic waste may seem like a distant issue until it turns up with your name on it. This is exactly what happens to Ella, the lively, scatterbrained protagonist of Verity Mullan's playful one-woman show. When her old plastic bottle washes ashore in Malaysia, it sparks a change in her waste habits that is as much about climate guilt as it is about dodging the pressures of her everyday life. Advertisement Hide Ad Advertisement Hide Ad Mullan is engaging as Ella, a takeaway obsessed woman in her twenties who is struggling to hold everything together. The script, written by Mullan, is witty and captures the utter chaos of juggling eco-anxiety with rent pressures and a crumbling job. Much of the comedy comes from her honest reactions to her demanding flatmate, failing boss and attractive allotment manager. Some interactions are cleverly done through voice notes and calls, which is when we get to see the unfiltered Ella and what she really thinks. Her occasionally over-the-top caricature-like performance makes her even more likeable. Packed with energy and light laughs, the show also highlights some horrors of plastic pollution. It weaves in sound bites from Blue Planet and a sobering visit to a recycling centre, grounding Ella's journey in a larger, global crisis. There's no lecturing here, just honest storytelling that lands more powerfully because of its restraint. SUZANNE O'BRIEN until 25 August Ah-Ma theSpace @ Niddry Street (Venue 9) ★★★☆☆ Advertisement Hide Ad Advertisement Hide Ad The January 2025 Eaton Canyon fire in Los Angeles County destroyed more than 9000 buildings, but spared – for the most part – the property of Hong Kong-born theatre maker Cathy Lam. Nonetheless, that threat of annihilation served as an impetus for a reflection on memory, community and connection, and found fruitful parallels in Lam's own memories of her grandmother – the Ah-Ma of her slight, fragile show's title – and the older woman's encroaching dementia. The result is a tender, disarmingly naive solo show that begins in fire-ravaged LA but quickly shifts to the contrasting warmth of her grandmother's embrace in Hong Kong. Ironically, once those parallels have been drawn and Lam's close connections with her grandmother demonstrated, there's surprisingly little emphasis on the woman's declining condition, or its effects on Lam. Instead, she refocuses on the signposts that remain to connect the woman to external reality, and the enduring links that remain while others inevitably weaken and snap. Kasen Tsui is a bright, energetic performer of Lam's autobiographical monologue, using the simplest of means to illustrate her story. It's a show of resilience and quiet restraint, but despite its touching poetry, it perhaps doesn't tell us much that we didn't already know. DAVID KETTLE until 19 August
Scottish Sun
a day ago
- Scottish Sun
One thousand brave firefighters battle desperately against latest Californian wildfire
So far, three people have been injured, with about 460 buildings under threat WALK ON THE WILDFIRE WALK ON THE WILDFIRE One thousand brave firefighters battle desperately against latest Californian wildfire A FIRE crew strides towards the danger in the desperate battle against the latest Californian wildfire. About 72,000 acres has burnt in four days, with just three per cent of the fires put out, despite the efforts of 1,000 firefighters. Advertisement 3 A fire crew strides towards danger during the latest Californian wildfire Credit: AP 3 About 72,000 acres has burnt in four days Credit: Reuters 3 Planes have dropped red fire retardant Credit: Reuters Planes have dropped red fire retardant on the flames engulfing Los Padres National Forest in Solvang. So far, three people have been injured, with about 460 buildings under threat. Last year, thousands of fires destroyed more than a million acres in California. The Pacific Palisades, a haven for A-Lister types, was hit by the horrific infernos with firefighters battling to get the blazes under control. Advertisement Leighton Meester and Adam Brody's mansion, where they lived with their two young children, was reduced to smoking rubble. Paris Hilton's Malibu beach house and Billy Crystal's sprawling home were also burnt down. Actors John Goodman, Miles Teller and Anthony Hopkins also saw their houses destroyed. At least five separate blazes spread across the Palisades, Eaton, Hurst, Lidia, and Woodley. Advertisement Parts of Sunset Boulevard were also torched, leaving one of the most iconic streets in the world reduced to smoking rubble. Some 100,000 people were forced to evacuate Eaton with 30,000 fleeing the Palisades, turning celebrity haunts into ghost towns.
Daily Mail
2 days ago
- Daily Mail
I 'fat tested' the rides at UK's most popular theme park - there were so many seats I couldn't fit in
A group of women 'fat tested' the rides at Thorpe Park to see if they could fit comfortably in them all. Jo and Nat, known as @ on TikTok, shared their experience of testing the attractions at the popular theme park alongside some friends. First up was Rush, a giant swing ride that goes up to 75ft high at 50mph, and the video showed the pair being flung into the air. 'Never ever, ever again,' Nat commented afterwards. 'I must say, getting into the moulded seat you have to really get your bum back, it was quite tight,' Jo explained. Nat felt it wasn't 'the most comfortable' ride because of the seats being 'hard plastic'. However, overall they felt 'very secure' and were happy with the good amount of 'air time'. Zodiac was next to be put to the test. The ride spins 60ft high and has no restraints holding passengers down. 'Apparently gravity will keep us in when we go upside down,' Jo said. Nat quipped: 'Will we defy gravity?' After the ride, the pair shared their verdicts and Nat described it as 'brilliant'. Jo added: 'What a fantastic ride, you don't have anything holding you in.' Nat interjected: 'Absolutely nothing, you are sat practically on the floor of a cage with nothing, just hold on.' Jo joked: '... gravity keeps you in, and if it kept us whoppers in, it'll keep you in as well.' Vortex, a swinging pendulum ride, was next, and Nat hopped into the tester seat outside of the ride to see if she would be able to comfortably fit. She described it as 'very narrow at the thigh' and no green light appeared above the seat meaning she would be unable to ride. Jo also didn't pass the test, and neither did her friend Yvette, though their pal Susan managed to sit in the set fine. The friends then tested Quantum, a flying carpet, family ride, which secures riders with a lap bar. Nat commented: 'It's very comfortable, easy to access.' Family roller coaster, Flying Fish was also a success but The Swarm's tester seat proved to be too small for Jo and Nat, meaning they couldn't go on the winged roller coaster. In a second video, the group of women tackled Hyperia, the tallest and fastest roller coaster in the UK. Neither Nat or Jo were able to pass the seat test, while their friends Yvette and Susan did. Despite not being allowed to ride, they commented how impressed they were with the accessibility information board nearby Hyperia. Colossus, a 10-looped roller coaster, was up next, and Jo demonstrated herself attempting to fit in the test seat. She said: 'I'm not going to fit, but in the interest of transparency, showing you how much space I've got left from the seat belt.' 'I would say, if you're up to about a size 18 you could do Colossus,' Jo shared. The group of friends then attempted to test out Samurai, a spinning mechanical arm that flies 60ft high. A sign next to the seat said: 'Guests must be properly secured in the ride seat, which may not be possible for those with chest measurements approaching 51 inches.' 'My chest measurement is 63 inches, so there's absolutely no way I can even try it,' Jo commented. She then tested exactly where the harness needed to go down to be able to ride, and was surprised that the gap was quite small. 'If you're over a size 18, you're not going to fit on this,' she said. SAW - The Ride, based on the film of the same name, also wasn't a success for either Nat, Jo or Yvette, though Susan did fit. Though they were able to enjoy The Walking Dead ride, Jo shared: 'The only thing I will say is you have to have two people per cart so me and Nat were really really squashed in together, she had to have her arm around me for the whole ride which I'm sure she enjoyed.' Roller coaster Nemesis Inferno was next, and everyone was able to fit in the tester seat. 'If you are in a larger body, ask for row four and five because they have two seats on there that have double seat belts and they are are a bit more generous,' Nat explained afterwards. 'So I sat in one of those, Jo sat in front, Susan was okay in the normal buckle next to me but there are options if you are bigger bodies.' Drop ride Detonator proved to be a success for Yvette, but Jo and Nat couldn't pass the three safety clicks needed to fit into the seats. Meanwhile, roller coaster Stealth's tester seat was a struggle for three out of the four. Nat shared her overall verdict and said: 'I think the rides are really good but I wouldn't say it's completely accessible for a plus size body. 'I would say accessibility for disabilities is brilliant, though we did seem to ride more thrilling rides at Alton Towers.' It comes after Blackpool Pleasure Beach unveiled footage of its newest ride - which promises to be the 'tallest of its kind' in the UK and transform the resort's famous coastline. The park released the first CGI video of Aviktas, a brand-new £8.72m pendulum ride set to open in 2026. Riders will fly on the towering 138ft gyro swing, alongside the popular Big One roller coaster and parallel to the coast, which is displayed in new footage created by the park's creative team. The ride will be the 'tallest of its kind' in the UK, surpassing the current leader, Drayton Manor's Maelstrom, which reaches approximately 74 feet in height.
