The second half of Checkpoint Theatre’s Take It Personally season opens with a new digital production, Keluarga Besar En. Karim (The Karims).
Written by Adib Kosnan, the play looks at how a new son-in-law shifts the family dynamics, which reopens new wounds and surface new tensions.
I contacted Adib, who is also performing in the production, to find out more about the play.
What inspired you to write this play?
The inspiration for this play began with my own personal experience of coming into another family as an in-law. While talking to friends who went through the same situation, I found many similarities in terms of our experiences.
What struck me most was how certain attitudes, especially about gender roles, differed in varying degrees amongst families, but always hovered around the same archetypes—who was in charge of certain chores, or who got served first at the dining table. I found these family dynamics fascinating. That was the starting point for me, this constant re-negotiation of spaces and boundaries even as you create your own new culture as a married couple.
I’ve also found that as a Malay Singaporean, there are certain cultural idiosyncrasies that are prevalent, and sometimes there are religious or cultural ideas that clash with your own set of personal beliefs—navigating these undercurrents was something else I wanted to explore through this story.
This production was initially meant to be staged live, however, it has since changed into a digital production. Has this impacted the way you write in any way?
The decision to stage it as a digital production initially brought mixed feelings for me. There was a sense of excitement and relief that the story could finally be told, but at the same time, I was very aware that certain theatrical moments and nuances I had envisioned would now need to be re-imagined. How do we maintain that feeling of intimate connection with the audience when they are now experiencing the story through a screen rather than sharing immediate space with the cast?
It was very interesting to refine the script while now considering the camera as the literal lens through which the story is experienced. For instance, certain moments could be amplified through a close-up of a facial expression rather than an actor embodying the emotion for the audience to understand. As we worked, I really began to appreciate all the possibilities and nuances that could be captured and portrayed through this new medium of presentation, while still keeping that original essence of the family that I wanted to express. I’m very excited for everyone to experience the final product in September.
As you are also acting in the production, have there been interesting discoveries in the rehearsal process that made you look at the story or the characters anew?
Being part of the performance process as an actor and working with our director, Claire Wong, is something that I will cherish for a long, long time. Claire’s process of unearthing the depths of each character, coupled with the other cast members’ layered and thoughtful portrayal of their characters, really helped me understand my own writing in a deeper way.
I discovered—or rather, rediscovered—the different sparks of inspiration that led me to craft these characters, which became a very emotional process for me because the stories came from real places of connection. There were times I even questioned myself whether it would have been better to maintain some distance from the work as its playwright, instead of immersing myself in it as an actor as well, because I was so affected by the words that were spoken. However, that would have meant missing out on an opportunity and process that really pushed me to grow as an artist.
Claire’s careful crafting of the rehearsal process allowed all the actors the space to explore and connect with each other as a family, as well as develop each character’s distinct voice. My character, Aqil, was originally written very much in my personal voice; the Aqil that you see in the play is quite different, but still retains the motivations and empathy that I initially envisioned for him. The challenge of exploring this expanded version of Aqil as an actor felt like a parallel to the play itself: the idea of entering a new group or family and having to adjust and adapt to foster a new dynamic.
Seeing how the other cast members resonated with their own characters, or hearing about the versions of each character that existed in their own families, not only helped to add depth to each character but also gave me a sense of personal validation—that these voices and stories that I was trying to represent by writing this play truly existed and should be told. This entire production has definitely left an indelible mark in my heart.
What is the one thing you love and hate about being in a family?
I think the one thing I both love and hate about being in a family is how connected we become. This connection can be nurturing and fulfilling, but also needs untangling as individuals go through different situations and evolve. Sometimes we continue to communicate with the versions of our family members that still exist in our heads, forgetting that they too may have changed, and that’s when conflict arises. Communication becomes miscommunication. It is easy to be understanding, but difficult to truly understand. But family is family—the love is there to help us get through these rough areas. At least I’d like to think it does, for the most part.
Keluarga Besar En. Karim (The Karims) will be shown online from 29 September to 15 October 2021.
The performance is in Malay and English (with English subtitles).
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