Hairi Cromo as Table Boy and Vanessa Toh as Debris Girl / Photo: Tuckys Photography
No Disaster on This Land
The Finger Players
25 February 2022
Drama Centre Black Box
24–27 February 2022
In its bid to place the process of puppetry construction at the forefront, The Finger Players decided to create No Disaster on This Land around the puppets crafted by Loo An Ni during her stint with The Maker’s Lab.
The production is helmed by the co-artistic directors of the company as Myra Loke directs, while Ellison Tan came up with the general narrative through a workshopping process.
The two puppets featured are Table Boy and Debris Girl. Loo wanted to work on exoskeletons and a modular system which would allow one to easily make modifications to a base structure. This prevents wastage from creating a completely new puppet for every show.
Both puppets have an exoskeleton with aluminium extensions. For Table Boy, different table legs are attached all along the extensions. For Debris Girl, intimations of flesh and concrete pieces are placed along the extensions.
In the show, these two characters are placed in an apocalyptic scene with concrete bricks and a backdrop of a partial grid wall, as we see how they interact.
The information above was mostly gleaned from the digital programme booklet. The information that we should be getting from watching the production, however, is fuzzy.
Who are the characters? What sort of world do they inhabit? Why are they there? These questions are hardly answered as we see two characters tentatively existing in the same space.
Beyond the initial encounter, as the characters suss each other out, it is difficult to make out the dynamics of the relationship. What are they disagreeing about? How are these conflicts actually resolved? How did they fall in love? (I only know they fall in love because the synopsis mentions a “love story”.)
A love story? But how did it develop? / Photo: Tuckys Photography
What about the puppets themselves? Do we ignore the human puppeteers and take the built structure as characters? Or are the structures extensions of the puppeteers, and both man and mechanics form a creature?
Given the skeletal nature of the puppets, it would seem that the latter is the case. But what sort of creatures are they? What do the extensions do? Are they hands or do they have some sort of magical power?
In terms of actual movements, the extensions are used to move the concrete bricks perfunctorily as the puppeteers still use their hands when not manipulating the extensions.
To make matters worse, the general rigidity of straight aluminium rods for the extensions meant that there is a limit to what the puppeteers could do with them. In manipulating Table Boy, Hairi Cromo carries the structure like a shell. And the extension occasionally gets in the way of Vanessa Toh’s movement work as Debris Girl—she has to figure out how to tuck it away when she is on the floor.
All these limitations mean that whatever metaphors or concepts that the show is trying to convey are not articulated clearly. For example, a baby doll and a cradle feature quite strongly in the show. Do they symbolise birth, rebirth, or a literal baby?
Despite all the flaws, there are a couple of lovely moments.
Lovely moments emanating from the anguish of Table Boy / Photo: Tuckys Photography
When we are first introduced to Table Boy we see Hairi Cromo seemingly struggling against the structure placed upon him. Despite the black box being a rather small space, the intensity of his physicality, coupled with the garish strains of the electric guitar and the distortion of Hairi’s voice provided by Ctrl Fre@k, amplifies the struggle to tectonic proportions.
In another moment of anguish later in the show, Hairi rears his puppet up like a pair of wings, and the table legs attached look as if they are floating above him. This seems to suggest a certain sense of implosion or disintegration.
Unfortunately, those moments could not save the show that is vague in its intent and story-telling.
Interview with director, Myra Loke