Refugees huddling together on a boat / Photo: José Farinha
12–23 January 2022
Part of M1 Singapore Fringe Festival 2022
In the opening sequence of Borderline, a few actors take turns to come on stage and remove their shoes. At the same time, live musicians play Bella Ciao to accompany the sequence. Slightly upstage, there are mountains of shoes.
The sight of the numerous shoes is a stark reminder of the number of people who had to flee their countries. It reminds me of a Holocaust exhibit which has piles of shoes from the vicitims. But from a distance, it looks like piles of rubbish in the Calais jungle, a makeshift refugee settlement in France.
Despite the sombre themes, complemented by the music that uses the revised lyrics by the Italian resistance movement, the jaunty tune and the actors’ playfulness lend a jovial, almost circus-like atmosphere.
The juxtapositions and seeming simplicity encapsulates the spirit of the show which aims to be a comedy about the tragic refugee situation.
Through a series of vignettes, we witness the various difficulties the refugees had to endure in order to cross the border: the various means to survive; uncaring bureaucracy; and the absurd actions of supposed do-gooders.
While the cast—comprising a mix of refugees who managed to find asylum in Britain and Europeans—uses their own names, we are not given any biographical information about the refugees. This allows us to look at the different facets of their experiences in general, without being pulled in by one particular story.
It also emphasises their humanity, warts and all. They are not simply pure, helpless victims. They have ingenuity as well as weaknesses as evident from the scene where the refugees try to exaggerate the provenance of the donated clothes in the hopes of getting a good price for them.
Police trying to haul a refugee out of a refrigerated truck / Photo: José Farinha
Just as the refugees had to make do with little, the cast deftly transports us to various settings through devised movement sequences. From trains to a police dog sniffing out refugees, the synergy among the cast members is a joy to behold.
As this recording is made specially for video due to the pandemic scuppering any plans for the company to tour, there is an added complexion to the presentation of this performance.
There is an inspired choice in the cinematography and editing which presents us with certain scenes as though they were filmed with a camcorder. This adds a mockumentary flavour to the show that live audiences might not get, thus giving the satire about the exploitativeness of news reports and documentaries more bite.
While there are no easy solutions as the world sets about beefing up their physical and legislative borders, this show resolutely stands in humanity’s camp.