There is hardly anything Rebekah Sangeetha Dorai cannot do. But this honest exploration is trapped within its own meta-theatrical devices.
Building a Character
Part of Singapore Theatre Festival 2018
7 July 2018, 7.30 p.m.
Creative Cube, LaSalle College of the Arts
5–8 July 2018
In my review of Actor, Forty by The Necessary Stage, a monologue performed by Yeo Yann Yann, I noted two things. First, it is “the show is Yeo’s performance CV”. Second, it is “shot through with meta-theatricality”.
Building a Character, performed by Rebekah Sangeetha Dorai, certainly rivals this.
The show is an honest look into Rebekah’s life, highlights of her career as an actor, and the struggles that she faces as an Indian actor in Singapore.
To prove her point about the last issue, Rebekah regales a portion of the countless insensitive incidents she faced. These include being asked to act “more Indian” in auditions, or people wondering why she was there in the first place; the paucity of roles in casting calls; and the general lack of representation in the media.
In the course of doing so, she mimics various people she encounters and creates a spectrum of “Indian-ness”—from the slight accent to a full-blown head-shaking, hand-twisting caricature. Apart from revealing the biases within the entertainment industry, she displays an immense versatility that is rarely seen.
A parallel occurs in her personal life as we hear anecdotes about being called San-San by her teacher, as said educator did not bother to clarify the pronunciation of Sangeetha; or being told to close her legs. Again, we see more of Rebekah’s skills and versatility, so much so that she could simply make an outstanding acting reel by stringing together 10-second snippets of every scene in the show.
But what makes this one-hander not fall into a trap of being a woe-is-me exhibition of self-flagellation?
To the credit of playwright Ruth Tang and director Teo Mei Ann, it all starts with a little self-awareness. In the programme notes, Tang explained that she was wary of simply going for “emotional catharsis”. Instead, the show from the fact that Rebekah is an actor and used the characters that Rebekah played as entry points into her life. Rather than forcing us to sympathise with Rebekah, we are invited to see how the she relates to the character, and to draw wider resonances for ourselves.
Perhaps, what is most refreshing is Rebekah interrogating the ethics of being in a show about her life that is written and directed by someone else. We see her talking about the script or even staging choices, as in one scene, we see her mumbling, forcing us to read the text on the screen. Such a dynamic compels one to consider not just her particular situation or story, but the difficulty of playing out our lives with aspects that are not within our control.
The meta-theatricality of the show also extends to the choice of having various gadgets such as voice-distorting microphones, mixers, and lamps, as we see Rebekah constantly play out the various situations she faces. The show is enhanced by her ability to gauge the audience in the room and immediately lighten up the atmosphere or bring the room to a sudden hush based on the topic at hand.
That said, the cleverness of the show is also its weakness. Certain parts of the show are merely riffs of a theme of building a character, which does not add anything to the discourse. For example, after a somewhat long monologue on being asked to be “more Indian”, we suddenly see Rebekah reappearing on stage as a wild rock star, lip-syncing to a song, only for the section to be cut short by a voiceover—also done by Rebekah—asking her to be more Indian.
Additionally, certain transitions consist of her dropping the topic and moving on. Given her sheer facility in picking up and dropping her characters so rapidly, I start to wonder if the anecdotes presented actually happened to her, or that they happened to someone else, but the creative team decided that it was important to present it on stage.
Furthermore, certain choices are a little gimmicky such as the decision to sprinkle confetti at the very end, when she came to a realisation about her abusive father. While I understand that there was a very conscious decision not to reveal every single detail about a sensitive issue, it dilutes the gravity and poignancy of the situation.
Despite all these flaws, a question constantly lingers in my mind: “She is clearly that good. How is it that I have only seen her in two shows in the past six years of being a reviewer?”
With such an irresistible character presented, let us hope that she builds a more illustrious career after this.
“Singapore Theatre Festival: Building A Character shines spotlight on race issues” by Akshita Nanda, The Straits Times Life!
“Singapore Theatre Festival 2018: Building a Character (Review)” by Bak Chor Mee Boy