[Theatre Review] More of a Roundabout

crossings

Crossings

Young & W!ld

15 February 2017

Centre 42 Black Box

15–19 February 2017

The latest batch of Young & W!ld trainees, under the tutelage of Rodney Oliveiro and Serena Ho, is almost half of the previous batch. This piqued my interest when I found out that Crossings is a double-bill as I had two assumptions. First, this is probably a deliberate choice rather than an expedient way to ensure everyone gets a chance to perform (a problem faced by most training programmes). Second, it fits the main theme as the audience will get to go down two different paths and have two different experiences due to the choices of various characters.

Alas, I am wrong about my first assumption.

In The Mother, The Son, and the Holy Ghost,  YouTuber and social justice warrior (SJW), Vix (Jasmine Blundell), decides that it is her calling to prevent an elderly lady (Natalie Koh)—suffering from dementia—from being kicked out of her house by her son (Aeron Ee). This is despite the fact that said lady accidentally caused her death.

What ensues is a cross between a comedy of errors, and a supposedly poignant story of the difficulties a caregiver has. Unfortunately, any potential that this piece might have is cut short, and the convenient ending feels like an apology for delaying the entrance of the actors in the next piece.

Such an apology is an utter waste as Jasmine Blundell is annoying but endearing as Vix. Aside from her engaging performance, she deliciously plays up every antic that popular YouTubers do in their videos. Natalie Koh pairs well with Blundell as the elderly woman. Koh strikes the right balance in portraying an elderly lady without resorting to the feeble stereotypes. Together, they could be an unlikely duo going on wacky adventures.

Unfortunately, the piece is derailed by the son, Boon (Aeron Ee), who is stiff and yells in every scene. Compared to Ee’s vein-popping histrionics, a pantomime dame feels Chekhovian.

Arbitrio starts off with another odd character. We encounter a Moses-like figure (Mel Bickham), seemingly at an audition, reciting Bible verses. In his desperate attempt to impress the unseen panel, he unfurls a story he has written about the twist and turns of a marriage.

This odd premise keeps the audience in anticipation for a good plot twist or revelation, but it does not materialise. While one’s interest is buoyed up by a series of jokes and wordplay, the trajectory of this piece feels like riding a donkey around a roundabout. The paper-thin dialogue is filler before an opportunity to put in the next punchline arises.

Additionally, the premise of an author figure writing and changing the story is puzzling. Does it mean that the choices of the characters do not really matter? Isn’t that going against the idea of the characters being at a critical crossroads in their lives?

Nothing seems to be carefully considered and promising aspects that the actors (Alison Bickham, Mel Bickham, Sharmaine Goh, Krish Natarajan) could have worked with—such as Chris (Krish Natarajan) being a bigot as he fumes about his friend coming out as gay just before his wedding—are not factored into the later scenes. Coupled with generic portrayals, and the intrusions of the author figure preventing the audience from being emotionally attached to any of the characters, Arbitrio is arbitrary.

While there is potential in this batch—and every bit of it should be encouraged—one should not let it discount the fact that this showcase is, on the whole, ho-hum.

[Theatre Review] Actor – Utterly Brilliant

Photo: Ruey Loon

Actor, Forty  <<员四十>>

The Necessary Stage

Commissioned for Huayi Chinese Festival of Arts 2017

5 February 2017, 3 p.m.

Esplanade Theatre Studio

3–6 February 2017

What could be more narcissistic than staging a solo show about one’s life and career? At best, it is an extravagant CV. At worst, it is a navel-gazing alternation between woe-is-me and look-at-me.

To avoid that trap, playwright Haresh Sharma creates a character which can be described as a version of Yeo Yann Yann in a nearby possible world. For sentimental readers, Yeo plays a character that could have very well been her, had the stars aligned a wee bit differently.

This blend of fact and fiction is not merely a device to avoid criticisms of vanity, but it also allows inter-textual possibilities that capture a slice of the local and regional theatre, television, and movie industries of the 80s and 90s. To ground the play in the reality of the character, Sharma ensures that some of these references also reflect the main difficulty of the character dealing with the difficulties of having a child at 40, and how best to balance between motherhood and her acting career.

As such, we have a deliciously complex play that is shot through with meta-theatricality. One could spend hours teasing out the dynamics of life imitating art and vice versa within the reality of the play, and the references to the different roles that we play in various aspects of our lives.

Yet, at another angle, the show is Yeo’s performance CV. Every second of the show is solid proof that, given some time, there is absolutely nothing that she cannot do. Her energy and flexibility disguises her age, while her virtuosity celebrates decades of hard work and experience.

She seamlessly transits from a comical to a poignant moment as if she were casually throwing on a scarf. With Sharma’s writing and Alvin Tan’s direction being quite relentless in this aspect, a lesser actor—or any other actor for that matter—might end up tying a noose with that scarf.  She also manages to breeze through a whole range of characters, and display a sense of ease with a whole spectrum of acting styles.

Underlying all these is a keen sensitivity which is also manifested in the way she handles Cantonese, Hokkien, Mandarin (both standard and a colloquial way of speaking that is unique to Malaysians), and English. At this juncture, it is important to acknowledge Quah Sy Ren’s robust translations as we are predominantly hearing his words throughout the show.   

In the press conference scenes which bookend the show, Yeo’s character teasingly admonishes the press for being nosey about her personal life, but requests them to give the movie as much coverage and as many positive reviews as they can. Usually, I will bristle at such blatancy, but Yeo and The Necessary Stage (TNS) have stripped me of any reason to do so.

Indeed, Actor Forty is a splendid celebration of Yeo’s career and TNS’ 30th anniversary. The company now finds itself in the unenviable position of trying to match this show for the rest of their 2017 season. But of all problems that one could have, this is one that is most welcomed.

Other Reviews

“Theatre review: Actor, Forty affectionately welcome Yeo Yann Yann back to local stage after hiatus” by Adeline Chia, The Straits Times Life! 

“《演员四十》写给新加坡剧场的一封告白” by 邹文森, Lianhe Zaobao

“Nobody will write a review for you” by Jocelyn Chng, Centre 42 Citizens’ Review

“一人分饰多文化的困惑 | REVIEW: ACTOR, FORTY” by Wong Chee Meng (黄子明), Theatrex Asia

“Actor, Forty” by Naeem Kapadia, Crystalwords

“[Review] Huayi Festival 2017: Actor, Forty by The Necessary Stage” by Nigel Choo, Bakchormeeboy.com

[Listing] Crossings by Young & W!ld

crossings

Every single day, we make choices – from the clothes we wear, to the food we eat. But, once in a while, we make the kind of big decisions that change everything. Step into the world of Crossings and get to know characters who have arrived at that critical crossroads in their lives. The choices they will make in this bold double-bill of original plays will change their journeys forever: setting them on the road to self-discovery… or self-destruction.

Vix, a social media darling, and a prickly, forgetful mother are thrown together in the aftermath of a tragic train accident. Vix resolves to help her elderly companion in the best way she knows how – through selfie sticks and videos. But how do you rescue someone who cannot even remember her own loved ones? And what happens when difficult truths come tumbling out? A strange tale of memories and lives shrouded in darkness, The Mother, The Son and the Holy Ghost explores what it takes to walk through the tunnel and into the light.

Happy and in love, Danielle and Chris are just about to tie the knot. But not everything is as it seems. Within their picture-perfect relationship lies a train-wreck of betrayal and abuse: from an unlikely affair to the sudden appearance of a former lover. As the champagne gets warm and the cake waits to be cut in Arbitrio, Danielle and Chris have to deal with the choices they made in the past, the emotional entanglements of the present and the uncertainty of the future.

Bold, inventive and thought-provoking, young & W!LD’s Crossings is a celebration of new Singapore voices and talent. The eight members of young & W!LD, from the ages of 19 to 24, came up with the stories, characters and themes that will feature in Crossings via improvisations and devising workshops. With their help, Rodney Oliveiro, their programme co-director, put together the final scripts of both plays.

“Just like these troubled characters, we all have to live with the decisions we make and their consequences,” explains Oliveiro. “I chose the main title of Crossings because it speaks to me of human wills and desires and ambitions – how we always bravely chug along, how we’re always busy with a new endeavour, even as we occasionally miss the subtle signs pointing towards our doom.”

The current cohort of young & W!LD embarked on their 18-month training programme in February last year. Since then, they have gained valuable experience in devising and performing their own original work. Following months of intensive workshops, they presented When S#!T Hits The Fam, an experimental piece that explored the trials and tribulations of family life, in May 2016.

“Over the past year, I’ve been most impressed by their openness, their willingness to try new things and their support for one another,” says Serena Ho, co-director of young & W!LD and Crossings. “I hope they will trust their voices and never stop surprising themselves.”

Crossings

15–19 February 2017

Centre 42, Black Box

Tickets at $30 from Peatix

[Theatre Review] Pretty Overstretched

Pretty Butch

Tan Liting

Part of M1 Singapore Fringe Festival

11 January 2017

Centre 42 Black Box

11–15 January 2017

Exploring what it means to be butch is an important conversation to be had in Singapore theatre. Apart from a few notable exceptions, plays exploring sexual identity have been dominated by men. And none of those exceptions are as specific and insightful as what Pretty Butch could be.

So imagine my disappointment when the teething problems of Tan Liting’s first full-length play fail to afford us enough bite to chew on this important issue.

Her workings on the page—a monologue, two duologues, and a sprinkling of ensemble sequences that are dream-like or absurd—reveal a novice learning from her predecessors. There is nothing wrong with that in itself and, taking the elements individually, Tan proves to be a competent playwright whose writing is engaging, funny, and poignant. However, rather than exploiting these elements to its full potential, her play feels like a mix-tape of what is characteristic of small-scale productions in Singapore.

Clearest case in point? Consider the lesbian couple (played by Farah Ong and Shannen Tan) signing up for a prenatal class. The clash with bureaucracy (a three-headed synchronised monstrosity, played by the rest of the cast), which insists that one must go for the “Daddy’s class” while the other, the “Mummy’s class”, and the eventual compromise is a campy nod to The Coffin is Too Big for the Hole. It is hardly a variation on a theme, but merely an addition of curlicues to the treble clef, crochets, and quavers.

Thematically, Tan offers variety: a butch (Deonn Yang) facing pressures from society and constantly being mistaken for a man; a couple of guys on holiday struggling with being masculine (Fadhil Daud and Henrik Cheng); and a lesbian couple going through pregnancy, with the “masculine” one of the pair carrying the child (Farah Ong and Shannen Tan).

Unfortunately, she could not quite handle the variety and ends up being overstretched. The two-hander with Fadhil Daud’s character struggling with perceptions of being effeminate while Henrik Cheng’s character struggles with gynæcomastia is the worst hit. The only struggle we see is both characters finding it difficult to admit their struggles to one another. That said, Tan should be credited for her perceptiveness in her idea of being butch and this could be a play on its own. Perhaps Handsome Butch or Pretty Hulk?

As for the other two stories, they mostly circle around issues of conformity and societal perceptions. Apart from the story about the two men, Tan could not get into the meat of the issues because—as a director—she chose to invest too much time on literal signifiers such as getting the cast to dress and undress.

When it comes to the performers, they are the best and worst thing of the production. Deonn Yang is nothing like her character as she gives an assured and self-aware performance. Aside from handling the difficult moments sensitively, she knows exactly how her body is perceived and plays with such perceptions to show the absurdity of societal norms.

Farah Ong and Henrik Cheng have the unenviable position of trying to keep the scene afloat as their less-than-stellar scene partners threaten to drag everything down.

It is refreshing to see Ong tackle a text-based work after having seen her in a couple of avant-garde productions. In this outing, she showcases her versatility as she spans the spectrum of playfulness, anxiety, and sorrow without overplaying the emotional beats.

This is in stark contrast to Shannen Tan, who presents a “dual-tonous” performance throughout the show. She either tries to connect with her scene partner by focusing on the playfulness rather than the emotional connection, or she tries to be emotionally wrought by becoming shrill and high-pitched. Yet, she is not quite the dead fish because she sheds two droplets of tears in one scene that immediately triggers sniffles in the audience who would think it is a heart-wrenching performance.

Cheng manages the delicate balance in which his character struggles with a physical condition (gynæcomastia) but, while it does affect his self-confidence, it is very different from the other character struggling with being called effeminate. The playwright does him a disservice by not fleshing out his character a little more. One looks forward to more of Cheng’s work, and hopes that he does not return to New York so soon after his graduation from the Intercultural Theatre Institute.

Fadhil Daud’s performance lies on two extremes. For the campy ensemble bits, he plays it to the hilt, and is endlessly entertaining. But for his main role of a young man trying to be masculine, he is as confused as his character as one is never sure what he wants to do with the text. Thus, we are left with him being extremely colourful or extremely bland.

Speaking of flavours, my comments may leave a bitter taste, but it is important to note that Tan has a good palette. She just has to choose a couple of ingredients, and cook it well.

More Information about Pretty Butch

Centre 42’s Boiler Room interview with Tan Liting

Other Reviews

“Navigating the conflict between self and social perceptions” by Akshita Nanda, The Straits Times Life! 

“Measure of a woman” by Helmi Yusof, The Business Times

Pretty Butch the profundity of queer anxiety” by Bernice Lee, Five Lines Asia

“M1 Fringe Festival 2017: Pretty Butch by Bak Chor Mee Boy

“Judity But(ch)ler” by Dumbriyani

[Listing] Prism by Toy Factory Productions

prism-publicity-photo-2t

Singapore’s leading bilingual theatre company Toy Factory Productions is proud to present its first production for 2017, PRISM.

Aman, an urban city development official, starts to question his work of demolishing old historical buildings to make way for new cityscapes. Faced with the task of informing the residents of the impending demolition of the city’s oldest heritage ‘The Surrounding City’, Aman experiences the wrath of the city, despair of her dwellers and confronts his personal ambivalence about the price of material gains.

A thought-provoking play that explores the limits of one’s threshold for pain and loss, PRISM spotlights the struggle between progression and development, and eroding a nation’s heritage and culture, through a storyline that will resonate with audience given the parallel in the current state of affairs locally.

An original script penned and directed by Toy Factory’s Chief Artistic Director Goh Boon Teck in 2003, PRISM was first staged as a grand multi-cultural theatrical performance that featured performing artistes and designers from six countries; including Japan, Indonesia and Malaysia. Today, the premise of the script remains relevant, especially in Singapore where development is slowly but surely usurping more local treasures.

In line with Toy Factory Productions’ unwavering commitment to provide the opportunity and platform for budding local talents, the upcoming PRISM is helmed by rising director Rei Poh; a consummate actor last seen in Toy Factory’s Titoudao, and features an all-Singaporean cast comprising several fresh faces led by Fir Rahman, who recently headlined the high-profile local feature film, ‘The Apprentice’ (Cannes Film Festival 2016).

Director Rei Poh shares his approach to his adaptation, “The story told is simple; one of progression versus loss, through a narrative that is familiar to most of us. I would like the audience to ‘feel’, more than ‘watch’ the show, since pain and loss are more deeply felt and conveyed through experience, than explained.”

PRISM

23 February–5 March 2017

Drama Centre Theatre

Tickets from $42 at Sistic

[Theatre Review] Lavish Panto-fusion

monkey_goes_west_2016_pic_5

Courtesy of W!ld Rice

Monkey Goes West

W!ld Rice

29 November 2016

Drama Centre Theatre

18 November–17 December 2016

W!ld Rice is well-known for adopting the pantomime, and infusing it with local references and jokes. With Monkey Goes West, the company pushes the envelope by adapting a Chinese legend into a British theatrical convention, while bringing in Asian practices such as martial arts, Chinese opera, and shadow puppetry as narrative devices.

The plot revolves around Ah Tang (Joshua Lim), a teenager who has lost his mother and has to live with Uncle Moo (Darius Tan), Auntie Fanny (Chua En Lai), and their spoilt child, Xiao Hong (Kimberly Chan). Feeling unloved and missing his mother on her death anniversary, he runs away from home and goes to Haw Par Villa.

Falling asleep, he falls into a dream state and he finds himself assuming the role of the monk in Journey to the West as he supposedly attempts to travel from Haw Par Villa to Jurong West with the help of his disciples: Wu Kong (Sugie Phua), Pigsy (Frances Lee), and Sandy (Siti Khalijah Zainal). Knowing that any journey made within Singapore’s borders is physically unimpressive, playwright Alfian Sa’at cleverly turns it into one of self-transformation.

First staged in 2014, this ambitious show could have gone the way of most fusion cuisines; a hodge-podge of ingredients that form a veneer of the exotic, but they do not go together and one is left with an odd aftertaste. What keeps this production together is director Sebastian Tan’s methodical conceptualisation of where the elements should go.

Alfian manages to serve up a delicious fare of innuendos, satire, and jokes which send the audience rollicking in their seats, while offering an important lesson of self-control to the children. Having entertained the audience and building up their expectations for most of the show, he falters toward the end with a slightly trite resolution in order for the moral of the story to be delivered. Additionally, the headstrong nature of Sandy which is in the original tale and key to the moral of the story is not apparent.

With the script being resolutely steeped in the pantomime tradition, Elaine Chan’s music enhances that with its offering of cabaret-style tunes with the occasional Chinese motif. The songs were well thought out and it gives space for every cast member to display their vocal chops.

The Chinese opera sequences and shadow puppetry figure in the fight scenes as the disciples, mainly Wu Kong, have to battle various monsters and demons (Darius Tan, Chua Enlai, and Kimberly Chan double up as King Bull, Princess Iron Fan, and Red Boy respectively) along their journey. There, these practices are left as is with traditional Chinese percussion playing in the background. As it impossible for the actors to ramp up the intensity of the Chinese opera sequences without years of training, movement coach and fight choreographer Gordon Choy circumvents this limitation by introducing farcical sequences that play to the actors’ strong sense of comic timing.

Top it off with Wong Chee Wai’s lavish sets, sleek transitions, dazzling stage effects, and some of the most versatile actors in the industry, Monkey Goes West is a sheer treat for the senses.

With this show being a milestone for W!ld Rice’s pantomime tradition, one wonders if it is possible for the elements from different cultures to be more intertwined without it being an incomprehensible pastiche. All the more reason to look forward to Mama White Snake, W!ld Rice’s next pantomime which draws from another Chinese tale, Madam White Snake.

Other Reviews

“Making fun (of)” by Jeremiah Choy, Centre 42 Citizens’ Review

“An ‘A’ Production — Artistic, Amusing, and Adept!” by Beverly Yuen, Centre 42 Citizens’ Review

Monkey Goes West: Embark On The Happiest & Funniest Journey To (Jurong) West” by Reuel Eugene, Reuel Writes

“[Review] Monkey Goes West by Natalie Danielle, Campus Magazine

“Review: Monkey Goes West by W!ld Rice” by Bak Chor Mee Boy

[Book Review] A Documentary of Gia Carangi in Book Form

born-this-way

Born This Way: Friends, Colleagues, and Coworkers Recall Gia Carangi, the Supermodel Who Defined an Era

 Sacha Lanvin Baumann

Wendell Rickkets (Translator)

Creatspace Independent Publishing Platform (2015)/ 202 pp.

We are all familiar with documentaries of famous people: a narrative of a person’s life and a series of tightly edited interviews. In many ways, Born This Way is a documentary of supermodel Gia Carangi in book form. It is a collection of interviews from a wide range of people which range from personal friends to casual work acquaintances.

However, unlike most documentaries, there is a lightness of touch in the editing of the transcripts. Apart from learning more aspects of Carangi life, the voices of the various characters come through which makes the book come alive, even for those unfamiliar with the fashion world.

There are a couple of occasions in which the interviewees confess that they only want to remember the good times, and not when her life spirals out of control with drug abuse. While this irks the sharp-minded biographer, such refusals are equally telling and contributes to the intrigue of Carangi.

That said, this book could benefit from photographs to break up the barrage of interviews. This is especially so with the sections when the interviewees are saying more or less the same thing. The photographs, not only of Carangi but of the interviewees, also provide some much needed context especially to those unfamiliar with the fashion world. Otherwise, there is a risk of the interviews being a big blur after extended reading.