Interviews

[Interview] Playwright Cherilyn Woo and Director Deonn Yang on Phinny & Wally: Echoes of Home

/ Isaac Tan / Leave a comment

When a dolphin and a whale first met onstage in Phinny & Wally, their friendship charmed young audiences and adults alike. Staged in Mandarin by Nine Years Theatre, playwright Cherilyn Woo and Nine Years Theatre bring the duo back as they explore friendship, courage, and emotional growth in a standalone sequel, Phinny & Wally: Echoes of Home.

Playwright Cherilyn Woo and director Deonn Yang shares more about the show over an e-mail interview.

Synopsis
Dive back into an underwater adventure with Phinny and Wally!

When Phinny, a gentle dolphin, and Wally, an enthusiastic whale, meet Arlo, a young bowhead whale lost in the vast Arctic Sea, they set out to help in the search for Arlo’s family. Together, they brave shifting ice, passing ships, and uncharted waters—facing danger with heart and hope.

Along the way, they learn about courage, friendship, and discover that home is more than just a place. It’s the sounds, the safety, and the love we carry with us.

Phinny & Wally: Echoes of Home is a heartwarming tale that inspires young hearts to care for the ocean—a place full of life, love, and stories worth protecting.

L-R: Cheryl Ho (Phinny), Vester Ng (Arlo), and Jodi Chan (Wally) in rehearsal for Phinny & Wally: Echoes of Home /
Courtesy of Nine Years Theatre

What made you choose sea creatures as the main characters?

Cherilyn Woo: I love the ocean. It brings me a deep sense of peace and joy whenever I’m near it. As I look out at the water, I often wonder about the stories it holds—the ones we rarely hear. That curiosity led me to think more deeply about the mammals that live within it.

The Arctic Ocean, in particular, feels distant and mysterious. It’s remote, and because of its harsh conditions, there’s been less research and fewer stories told about it. I wanted to find a way to feel more connected to that part of the world—and to help others feel connected too. The Arctic Ocean is warming much faster than the rest of the planet and changing in ways we don’t fully understand.

Through storytelling, I hope to shine a light on the hidden lives in the ocean and inspire more curiosity and care for what’s happening there—before it changes beyond recognition.

What inspired you to write a sequel to the original Phinny and Wally production that was staged in 2024?

Cherilyn Woo: Phinny & Wally started out as an idea for a book. As I was making the production last year, I realised how these two characters could help spread awareness for ocean conservation through storytelling. I felt that through stories, we can form a much deeper connection to the environment and the world. It was such a treat to see the young audiences and their adult companions come in and connect in a way that felt really honest and personal. So I was motivated to create a sequel to it. I felt that there were more stories we could tell to bring attention to the oceans and the challenges faced by the ones living in them.

What were some of the interesting insights that you got from the first production and how has that inspired your approach to this sequel?

Cherilyn Woo: One of the most striking moments during the first production was seeing how deeply young audiences connected with the story. When Phinny’s home was threatened by an oil spill, some children instinctively turned to their adults or looked away from the stage—not because they disengaged, but because they were feeling the weight of the moment. And yet, they stayed. They listened. And when the time came to help Phinny, they responded with overwhelming enthusiasm.

It reminded me that children are incredibly brave and emotionally intuitive. They’re ready to engage with big ideas—as long as the storytelling invites them in with care. That experience shaped how I approached the sequel. I realised I could go deeper—not only emotionally, but also in developing the characters’ personalities and their relationships.

As an artist, I’m always thinking about how stories can speak across generations. In this sequel, I wanted to craft something that resonates with both children and the grown-ups beside them—something that sparks conversation, reflection, and a sense of shared wonder.

This story touches on emotional ideas like home, courage, and connection. How do you find the right tone that would resonate with both children and adults?

Cherilyn Woo: I have two nephews and I enjoy spending time with them. In our time together, I’ve learnt that once they understand what is going on, the depth of their emotions are at times a lot deeper and complex than adults. That was when I realised that if I’m feeling something, they are feeling it too, and probably in a richer way.

Somewhere along adulthood, I think our emotions get sort of buried and we don’t feel as deeply as we should, so when we see the world through children’s eyes, it’s a whole new different experience.

I don’t know if I’ve found the “right” tone. I’m not sure that there is one. But I know that as long as I try my best to be emotionally real, no matter the age, I lean into the trust that it will resonate. And if it doesn’t, that’s okay too, it’s an opportunity to dig deeper for the emotional truth.

Courtesy of Nine Years Theatre

While you’ve previously directed productions for young audiences, this marks your first time directing a children’s piece completely in Mandarin. What unique considerations or challenges did you encounter in working with the Mandarin language?

I think and function in English most of the time, and as a result, I think I do take my ability to comprehend and communicate for granted. I love the richness of Mandarin, and I do get a bit sad when I can’t fully capture or appreciate the nuance of the language.

However, I am not totally unfamiliar with directing a mandarin show because my own show White, All White (presented by The Necessary Stage last year) was written in a mix of English and Mandarin but similarly, I directed predominantly in English.

With Phinny & Wally: Echoes of Home, the environment at Nine Years Theatre has been nothing short of supportive and collaborative. They have never made me feel insecure about directing a Mandarin show for young audiences in English, and if anything, this experience has made me more mindful about the delivery and clarity of the text for comprehension. Full disclosure: My command of the Chinese language is not terrible, but it’s also far from the best! So this unique position offers me the opportunity to make sure we really focus on communicating the thoughts and the story to our audience members, and if anything feels too challenging or unclear to me it then becomes a sign for me to focus more on clarifying this moment for our young audience.

There’s an interactive element where children become coral in the show. How did you approach rehearsals with the cast to ensure that the interaction feels intuitive and enriching?

During the pre-show segment, audiences are introduced to the play, and there they already take on the role of corals, as they learn that they are an important part of our ecosystem. The beauty of theatre is the suspension of disbelief. I am fortunate to work with actors who are very experienced with making theatre for young audiences, so once the context was set, the way they approached the scene and work was also very intuitive. I would say that it was largely a very collaborative process, where we would actively help make the scenes and interactions better.

Has there been any interesting discoveries in the rehearsal process?

Rehearsal rooms are always very fun to be in, and for me, no two rooms are the same. I wouldn’t say that there are specific discoveries, but I think have learnt more about marine life in these few weeks than I have in my entire life! And it really reminds me that we share this world with everything and everyone, and we really have a responsibility to love and care for our world.

Courtesy of Nine Years Theatre

Catch It!

Phinny & Wally: Echoes of Home runs from 22 to 31 August 2025 at Drama Centre Black Box.

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[Interview] Nelson Chia and Mia Chee on Waiting for Audience by Nine Years Theatre

/ Isaac Tan / 2 Comments

Photo: Moonrise Studio / Courtesy of Arts House Limited

Waiting for Audience was first presented as a work-in-progress as part of the Singapore International Festival of Arts (SIFA) 2024 Tomorrow and tomorrow incubation programme. It returns this year as a full-fledged production as part of the lineup for SIFA 2025.

Nelson Chia (cast, playwright, and director) and Mia Chee (cast and producer) reveal more about the show over an e-mail interview.

Synopsis
An old theatre reaches its last performance night.
Two actors—A and O—find themselves sharing the stage. 
They bicker,
they compete,
they create,
they wonder,
and they
wait…
and wait,
and wait.
“We exist because they exist.”
“Every play has a beginning / And an end / Life is the same.”

But will the audience ever come?

Playful yet meaningful, Waiting for Audience challenges us to rethink the bond between performers and spectators, drawing inspiration from physical theatre, clowning, absurdist humour and Chinese crosstalk. 

Waiting for Audience invites us to step into the story and play a key role in completing a unique theatre experience, to join in the celebration of the power of live performance to connect what is on and off stage. Don’t miss this bold creation by Nine Years Theatre founders Nelson Chia and Mia Chee. 

What inspired you to create the work?

Nelson & Mia: Nine Years Theatre is known for its emphasis on the actors’ craft. At the same time, we focus a lot on the audiences’ experience. As such, we came up with an idea to create a work that was somewhat a “love letter” to the audience. Waiting For Audience turned out to be that fun and curious way of saying to our audiences, “You are the one that completes our work.”

What made you decide to test your ideas through SIFA’s Tomorrow and tomorrow initiative in 2024?

Nelson & Mia: After several rounds of discussion with SIFA’s Festival Director, Natalie Hennedige, we realised Tomorrow and Tomorrow was an invitation for the audience to come create this work with us — precisely what Waiting For Audience was about, and a quite perfect platform for our idea.

Photo: Moonrise Studio / Courtesy of Arts House Limited

Were there any unexpected discoveries or insights from the audience feedback in 2024? 

Nelson & Mia: We wouldn’t say they were unexpected, but we were really heartened to learn from the feedback that audiences found the work creative, humorous, and moving. More importantly, we were told by those who watched it that they felt that they were at the centre of the play—exactly how we liked it to be.

Now that the work is a full-fledged production in SIFA’s 2025 season, how has the work evolved since? 

Nelson & Mia: The latest version at SIFA 2025 is quite a new version in the sense that it is about 50% different from the previous one. There are new scenes being added, sequences become more complex, and the space is more exciting with designers Emanorwatty Saleh and Ng Jing coming onboard to design the scenography and sound respectively. I feel the work has grown in terms of its characters emotions and the theme’s dimension.

Catch It!

Waiting for Audience by Nine Years Theatre runs from 30 to 31 May 2025 at SOTA Drama Theatre.

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[Interview] Drama Box’s artists shed light on “hello, is this working?”, part of SIFA 2025

/ Isaac Tan / 1 Comment

First presented as a work-in-progress as part of Singapore International Festival of Arts 2024’s Tomorrow and tomorrow incubation programme, hello, is this working by Drama Box returns to SIFA as a fully-fledged production.

Artists Chng Xin Xuan, Han Xuemei, and Lynette Quek shed light about the production and how it has evolved since it was first presented last year.

Synopsis
If work is a big part of our lives, who would we be without our work? How are different jobs valued? Step into a world where we’ve collectively lost our memories about the work we used to do.

Through a mix of accounts by people of various professions and speculations of a post-AI future, hello, is this working? by Drama Box is a participatory experience that invites us to reexamine our relationship with work now, and to reimagine work in the future.

Times may change, but work, and workers are here to stay. Are you ready, Worker 5.0? The future is calling.

What inspired you to create the work?

Xuemei: Growing up in Singapore, many of us were likely instilled with the idea of “study hard and then get a good job”, to the point it almost felt like life ended with getting a job. I wanted to question this perceived indispensability of work — specifically, working for a living.

There were many questions I was curious about. Why do we work the way we do? Why do we value certain types of work more than others? How did our collective values about work evolve over time, and what needs to change in the future? These are also questions the world is grappling with, as seen in the rise of conversations and social movements such as “lying flat” (躺平 tǎng píng) and “quiet quitting”, especially with the COVID-19 pandemic and the rapid development of artificial intelligence. The time felt right for us to explore these questions more deeply through the arts.

Xin Xuan: I believe I have similar questions and thoughts about work, as shared by Xuemei. For myself, in particular, I recognise my privilege, being able to work as a freelance artist, away from the drudgery of repetition and routine. My work brings me to many like-minded people who share similar lifestyles and beliefs, though sometimes I have this inkling that I’m in an echo chamber. Working alongside Xuemei and Lynette on this project has allowed me to satisfy my curiosity about the work of my fellow Singaporeans who are not in the arts industry, and also presents me with an opportunity to learn more about others. Much of the inspiration comes from them and from the interactions that we have. 

Lynette: I guess I was really curious about why people around me are often complaining about their work, how mundane their working days are, how they spend their weekends asleep in bed — it is almost as if they live just to do something that they don’t enjoy. I was really curious on how people stay on so long at a job, what were the little treats in their day, and what they think they would have been doing if not. 

Photo: Moonrise Studio / Courtesy of Arts House Limited

What made you decide to test your ideas through SIFA’s Tomorrow and tomorrow initiative in 2024?

    Xuemei: Because the subject of “work” is vast and complex, I had been hesitant to start. When the invitation came from SIFA’s Tomorrow and tomorrow, I felt it was the right time and space to plunge in, explore and experiment to figure out where these ideas could go. This opportunity also allowed me to involve other collaborators, and this was how Lynette and Xin Xuan came on board.

    Were there any unexpected discoveries or insights from the audience feedback in 2024?

      Xuemei: We were really thankful to the audience for the variety and depth of feedback last year. The feedback ranged from sharing their resonance with the work to pointing out areas that were not explored. One particular sharing that I was surprised by was how our perception of work is shaped by social and cultural institutions and, over time, the roles that these institutions play in our lives become very invisible and unchallenged. The example raised in this case was that of the National Library, wherein the library actually has, amongst its many functions, the function of developing “good workers”.

      Xin Xuan: Too many to list! I would say that the dialogue that we had after our showings, during the post show talk, was a great space for us to exchange ideas and thoughts about work. And that to me was the most beautiful bit actually.

      Lynette: A friend who came to watch the show said she would quit their job immediately! (She hasn’t left.) I find this contrast intriguing as it also states a bigger problem of pressure, sustainability, unease, etc. I appreciated the openness of the audiences and hopefully this piece allowed them to be a little bit more daring with their choices in their line of work. 

      Photo: Moonrise Studio / Courtesy of Arts House Limited

      Now that the work is a full-fledged production in SIFA’s 2025 season, how has the work evolved since? 

        All: The most visible evolution would be the form the work takes. Last year, it was presented as an intimate performance – one actor to 40 audience – in a room. This year, the physical environment for the work is completely different. We were invited to create our work taking into consideration Ruobing’s installation at Bedok Town Square, which is an open public space. To consider how different audiences can access and experience the work, we have created two types of experiences – between 10am and 4pm, public can freely enter and explore the work in the form of an installation, then at 5pm and 7pm, there will be a 45-minute audio-based participatory experience, where the audience follows a narrative journey set in the year 2056.

        The development of a narrative journey is also something that deviates from last year’s work-in-progress. Last year’s exploration had a more modular structure, where each scene or segment played with different ideas and could have no obvious connection to each other. 

        This year, we also chose to develop the character of the work fairy which appeared in one segment last year, as well as explore more with speculative imaginations of the future of work.

        Essentially, “hello, is this working?” is both a philosophical question on what defines work and a speculative reflection on what is functioning and what is broken in our society. How do we make things work, and how do we repair what isn’t working?

        Catch It!

        hello, is this working by Drama Box runs from 23 to 25 May 2025 at Bedok Town Square.

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        [Interview] SIFA Festival Director Natalie Hennedige on Tomorrow and Tomorrow Incubator Programme

        / Isaac Tan / 2 Comments

        Natalie Hennedige, SIFA’s Festival Director / Courtesy of Arts House Limited

        Launched in 2024, Tomorrow and tomorrow is an incubation programme by the Singapore International Festival of the Arts (SIFA) in which theatre groups can present their works-in-progress to an audience.

        To find out more about the incubation programme and how some of the works in that programme have developed since, I caught up with Festival Director Natalie Hennedige.

        What was your vision for SIFA’s Tomorrow and tomorrow incubator programme when it was introduced in 2024?

        Tomorrow and tomorrow was conceived as a platform to enable fertile artistic ground to flourish with works receiving a process showing at the Festival.  Stamford Arts Centre was transformed into a sandbox of works-in-process, opening up vistas for future presentations and unearthing Singapore’s fertile ground for contemporary theatre-making.

        Ten local theatre groups were invited during the 2024 edition to bring their processes and working methodologies to the fore before audiences who would witness nascent ideas at play. Tomorrow and tomorrow became a platform not only for exploratory ideas, but also for showcasing the dynamic voices shaping Singapore’s theatre landscape, reflecting SIFA’s commitment to nurturing and celebrating local artistic process and innovation.

        What is unique about Tomorrow and tomorrow, as compared to other incubator initiatives?

        What sets Tomorow and tomorrow apart was the opportunity for audiences to experience a showcase of diverse, in-progress works by ten established local theatre groups, presented together on a single platform. That apart, Stamford Arts Centre became a larger canvas with visual artists commissioned to install works specific to the physical qualities of the center. We also had musicians in nooks and crannies charging the building with experimental sound. 

        Crucially, Tomorrow and tomorrow shows also eschewed a price tag—creating a space that was open and accessible to all who sought deeper, more unexpected connections. It encouraged engagement through observation, interaction, and conversation, free from the commercial expectations that often frame artistic encounters. At its core, the initiative was about witnessing the genesis of ideas and being part of a living, evolving tapestry of Singaporean theatre and expression.

        Waiting For Audience by Nine Years Theatre and hello, is this working? by Drama Box were part of the 2024 incubator programme, and they are being presented as full-fledged productions in SIFA 2025. Why were these two works selected?

        Waiting For Audience captures the inextricable link between the theatre and its audience, reflecting too an artform as old as time and how its vitality endures. This resonates with SIFA 2025’s MORE THAN EVER frame, which encompasses why more than ever the arts matters.

        hello, is this working? returns under very different conditions; the first iteration of the work occurred in one of Stamford Arts Centre’s rooms. In 2025, it takes place at the SIFA Pavilion at Bedok Town Square in response to the context of the space which includes the neighbourhood bustle and a colossal installation stage doubling as a stage by visual artist Wang Ruobing. All these contribute to an extremely evolved version. It will be exciting to have witnessed the evolution of these works or to encounter them as a first. 

        Looking back on your tenure as SIFA’s festival director and your artistic career, what does Singapore’s arts ecosystem need more of to foster a vibrant arts scene?

        An international festival plays a critical role in shaping Singapore’s arts landscape. It serves as a nexus for experimentation, exchange, and discourse—bringing artists and audiences together to engage meaningfully through the arts.

        Beyond fostering artistic dialogue, a festival like SIFA amplifies the visibility of homegrown talent, situating local artists within a global context and creating opportunities for collaboration that drive both artistic and professional growth. It also deepens public engagement by presenting multifaceted perspectives, encouraging audiences to encounter and interpret works through a critical lens.

        Singapore’s arts ecosystem benefits from such efforts that connect artists across borders and support long-term artistic development. As a small but vibrant nation, we are constantly negotiating between the local and the global. SIFA mirrors this dual gaze, fostering regional and international collaborations that open pathways for new creations and deeper artistic inquiry.

        In varied ways, Singapore artists have made their presence felt on the international performing arts stage. Take Ramesh Meyyappan, for instance—a Glasgow-based Singaporean theatremaker who creates prolifically in the UK and helms LEAR, a reimagining of Shakespeare’s King Lear for SIFA 2025. Though based abroad, Meyyappan remains deeply connected to the arts scene here.

        In commissioning LEAR, the Festival not only brings a bold new work to local audiences, but also showcases the vibrancy and reach of Singapore’s arts ecosystem—one that nurtures talent with international resonance. The production is set to travel to Traverse Theatre in Edinburgh and Aberdeen following its premiere at SIFA, further extending the reach of Singaporean artistry to global audiences.

        The Singapore International Festival of Arts runs from 16 May to 1 June 2025.

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        [Interview] Director Hossan Leong on ‘A French Kiss in Singapore’

        / Isaac Tan / Leave a comment


        To celebrate 60 years of diplomatic relations between France and Singapore, Sing’Theatre is bringing back A French Kiss in Singapore, a revue of French songs created by George Chan in 2013.

        I caught up with director Hossan Leong, who also performed in the original production, to find out more about the show.

        Synopsis
        A French Kiss in Singapore returns to dazzle audiences with an unforgettable musical experience. This reimagined musical celebrates the artistry of four of France’s most beloved contemporary songwriters and performers—Charles Aznavour, Serge Gainsbourg, Jacques Brel, and Charles Trenet. Their timeless classics, immortalised by legends like Frank Sinatra, Liza Minnelli, and David Bowie, will transport you on a journey through love’s many twists and turns.

        Expect an emotional rollercoaster like no other—a blend of laughter, tears, daring sensuality, and thought-provoking moments. This show will entertain, inspire, and leave you humming these iconic tunes long after the curtain falls.

        Having performed in 2013 production, what is your artistic vision for this revival?

        These four French singer-songwriters tell stories about love, love in all forms; be it for another person, a drink, a lifestyle or even nature. I want the lyrics to come through and touch the audience. Each segment will be portrayed differently—with humour, passion, sadness, hope and longing.

        Were there any interesting discoveries during the rehearsal process? Has rehearsing the show with a new cast made you see these iconic French songs in a new light?

        I have an amazing cast, a brilliant creative team, and an incredible stage management team. Putting this show together has been nothing but laughter, understanding of the poetry, of the meanings, rediscovering how cleverly these songs were put together.

        As you are actively involved in the cultural scenes of France and Singapore, what is best aspect about the culture of each country?

        I try as much as I can to be part of the Franco-Singaporean cultural scene. Both cultures are so different yet I find the similarities very close to home: love for food, the complaining, usage of slang and word play.

        For those who are not familiar with revues and the French songs, how would you describe the show in five words?

        Fun, Touching, Educational, Entertaining, and Uplifting.

        Catch It!


        A French Kiss in Singapore runs from 17 to 27 April 2025 at the SOTA Drama Theatre.

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        [Interview] Myle Yan Tay on his latest play, “Statement Piece”

        / Isaac Tan / Leave a comment

        Playwright Myle Yan Tay (seated left) with director Claire Wong (seated right) and the cast (standing L-R): Tricia Tan, Rusydina Afiqah, and Huzir Sulaiman (also the dramaturg). / Courtesy of Checkpoint Theatre

        After the the success of Brown Boys Don’t Tell Jokes (2023) in which playwright Myle Yan Tay looks at male friendships, race, and politics, he is back with a new play, which focuses on the purpose of art in Statement Piece.

        I caught up with him to find out more about the play, which kicks off Checkpoint Theatre’s 2025 season.

        Synopsis
        Two weeks after a loss that reverberates through the nation, a young gallerist prepares for her first exhibition. Lily has endured constant pressure from her formidable boss, spent countless hours on research, revved up the public for a buzzworthy show – everything for the perfect opening that will cement her name in the art world. The months of suffering are about to pay off at last.

        But when the final painting arrives, hand-delivered by the reclusive Gopal Rangaraj himself, she is horrified. With the entire exhibition—and her fledgling career—on the line, even the surprise visit from her artist girlfriend Marjia can’t cushion the gravity of the situation.

        As three different worldviews collide, how much should be sacrificed in the name of Art?

        What inspired you to write Statement Piece?

        While studying in Chicago, I was spending a lot of time with American artists and having conversations about freedom of speech, the ethics of representation, and the peculiar challenges of being an artist in our era. I’d share Singapore idiosyncrasies with my peers about art-making, which led to me thinking deeper about how Singapore’s art world works and its relationship with our existing systems. These ideas eventually took root and led to Statement Piece.

        As your main artistic practice is the the literary arts, what made you choose the visual arts as the main context of the plot?

        I write prose and plays, review movies, and host a podcast about comic books—medium is always on my mind. What does one medium do that another can’t? Plays don’t have page-turns, comic books don’t have line breaks, and the central painting in Statement Piece has no dialogue.

        Art is only finished when it’s viewed by its audience, but the way an audience finishes the work varies greatly depending on the media. I wanted to put interpretation front and centre in this script, to ask questions about what it means to look at a work, what we are doing when we try to “understand” art. We’re always trying to finish the work we’re looking at, whether it’s subconscious or not. Bringing the painting into the theatre is my way of making that process explicit.

        What is the biggest challenge in writing this play?

        The biggest challenge of writing this play was probably its relationship to the art world. I want it to feel authentic but I also don’t want to be bogged down by the details. I want the script to be accessible and open, so anyone can approach its ideas without feeling boxed out. The Checkpoint Theatre development process has been integral to finding this balance.

        The cast rehearsing Statement Piece. / Courtesy of Checkpoint Theatre

        Were there any interesting discoveries seeing your characters come to life in rehearsals?

        It’s not quite a discovery but it really is always such a joy to watch this world you built come to life. The joy of playwriting is that you get to hand it off to other people, and when those people are as talented, thoughtful, and generous as Claire Wong, Huzir Sulaiman, Tricia Tan, Rusydina Afiqah, and all the other incredible people in the art, set, lighting, sound, costume, and make-up team, you’re very very lucky.

        What is the most pressing issue or question that Singaporean artists should think about?

        I don’t think I can prescribe a single issue to every Singaporean artist. If anything, the question every Singaporean artist should be asking themselves is, “what do I want from my work?” Because that’s really the only thing you can control.

        Do you want to create societal change? Do you want to provide emotional catharsis? Do you want to make people laugh? All of these are valid questions and should be guiding how we make our work. It really depends on what is personally most important to them, which is actually one of the central questions of Statement Piece.

        Catch It!

        Statement Piece runs from 3 to 13 April 2025 at the Drama Centre Black Box.

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        [Interview] Playwright-Composer weish and Director Huzir Sulaiman on Secondary: The Musical

        / Isaac Tan / Leave a comment

        To open its 2024 season, Checkpoint Theatre returns to school with a musical composed and written by its associate artist, weish.

        Described as an “unconventional musical”, I spoke to Playwright-Composer weish and Director Huzir Sulaiman to find out more about the production.

        Synopsis
        School isn’t easy for anyone, whether you’re a student or a teacher. And with exams coming, nobody’s life will be the same.

        Pushed and pulled in different directions, Lilin is a young teacher trying to make it through yet another term while helping her students. Battle-worn Secondary 3s Ming, Omar, and Reyansh are trying to handle the challenges in school and at home with bravery and grace. But in a system that values specific kinds of success, can their efforts be recognised?

        Hilarious and deeply moving, this landmark work by Checkpoint Theatre is an unforgettable dive into life in a Singapore school, with all its delicate joys, complicated heartbreak and unexpected beauty.

        With a powerful, affecting script, and incredible new songs, Secondary: The Musical questions what happens when life is dictated by a final grade.

        What inspired you to create Secondary: The Musical?

        weish: The short answer is: Huzir Sulaiman. He came to me with the idea in late 2020, and since then he and the Checkpoint team have spent three years working with me to develop and refine the piece over several table reads and feedback sessions.

        The piece draws heavily from my experience as a literature teacher in public schools. I learnt some difficult lessons about class and inequality, and the unseen struggles of less privileged students in the underbelly of our meritocratic ideals.

        As my dramaturg, Huzir has always reminded me to balance light and dark, and in moments where I burrowed myself too far into my own head to see clearly, he encouraged me to put my cerebral and conceptual brain on hold in favour of listening to my instincts and emotions. In doing so I realised there was a lot of joy, hope, and humour in the world I was trying to represent.

        In that light, I hope the work isn’t primarily received as an indictment of society, but more a celebration: of real people and their enduring humanity, in all their flaws and idiosyncrasies.

        Checkpoint Theatre has worked with weish on several occasions. How did this project come about?

        Huzir Sulaiman: weish’s engagement with Checkpoint Theatre has been deepening and growing over the last 12 years, from project to project, while her powers as a writer and musician have been similarly maturing into something quite astonishing, marrying lightness and joy with technical sophistication. I encouraged weish to write a full-length musical quite simply because she is a brilliant artist with a lot of important questions that she wants to investigate in her work, and she has the ability to do that in dialogue, lyrics and music. She combines those skills with both compassion and intellectual rigour—a vital combination when thinking about the education system!

        You described the show as an unconventional musical. How would you describe the music in the show?

        weish: In response to our trailer someone had joked, “Ah, the weish chord”! That really tickled me. But if it was any indication that there is something signature to my sound in the ears of others, I am glad. The show is a mix of spoken scenes—naturalistic and otherwise—and 15 original songs. I have had the pleasure of working with Ian Lee and Daniel Alex Chia from independent music label PK Records as my arrangers and producers, and they’ve breathed new life into the music in ways that balance my own sensibilities. The music is quite alternative and unconventional to the musical theatre style, but still accessible, and very lyric-driven. Genres range from folk to hip-hop to electronic, but what I hope ties them together is a rawness of emotion and sincerity. And, perhaps, a “weish chord”…

        Photo: Daryl Eng / Courtesy of Checkpoint Theatre

        What drew you to direct this show?

        Huzir Sulaiman: It’s my privilege and responsibility to oversee the development of much of Checkpoint Theatre’s new work. Before formally becoming her director, I worked with weish for three years as the dramaturg for Secondary: The Musical, giving my feedback on her drafts—many fragmentary songs and scenes at first, then eventually 11 full drafts. I would discuss my thoughts and suggested revisions, also collating and curating the feedback that the Checkpoint team and actors would have after every read.

        Music has always played a huge part in my life. Telling stories and expressing thoughts and feelings through not just spoken text but also song, the way it’s done in Secondary: The Musical, resonates with me as both an artist and on a deeply personal level. And weish and I have a fairly similar sense of humour, so I think that helps me enter into the world of the characters. I was fortunate that weish agreed for me to direct this work, and I consider it a great gift. weish is also musical director for the show, overseeing the singing and musical arrangements, and it’s great to see her at work.

        While music elements have been featured in various Checkpoint Theatre’s productions, this is the first proper musical produced by the company. What were some of the difficulties in working on this original musical?

        Huzir Sulaiman: Our first-ever musical was actually City Night Songs in 2012—in fact, that was the very production that kicked off weish’s and Checkpoint Theatre’s long happy years of collaboration. She was one of my assistant directors then. There are certainly new challenges when you work on a large production, in terms of integrating and balancing all the elements of performance—singing, choreography, acting, and all the processes involved in dramaturgy, design, rehearsal, and production.

        Were there any interesting discoveries during the rehearsal process?

        weish: The sheer amount of talent in the room has been overwhelming. Our cast is stellar, and I have been very moved by how invested they are in the work—from bringing their own ideas to the table, to sharing deeply personal anecdotes that resonate with the play, or sending me midnight voice messages with vocal experiments they are trying out at home. I have been moved to tears countless times through rehearsals—sometimes just witnessing the way in which Huzir teases out nuance and depth in each character, or watching Hafeez’s choreography imbue a song with new layers of meaning.

        As for the music, it has been surreal. For more than 10 years I have written and performed my own music, and now I get to sit before a cast of 12, singing my words and melodies with so much conviction and emotion… I feel so lucky, and I’ve been very emotional through it all.

        Huzir Sulaiman: Working with my 12 cast members (plus two understudies), I tried to pull out and make clear the themes and questions that the text poses. Improvisations and discussions allowed us to flesh out the backstories of the characters. Building a rich and detailed world was important to me, as well as ensuring the story unfolded with both clarity and nuance. I tend to work first in broad strokes, returning to scenes again and again to get ever more specific and layered.

        Choreographer Hafeez Hassan and weish as musical director worked alongside me in the rehearsal room to optimise the movement and singing respectively. They are so good at what they do that it was a joy.

        Has this show made you look at your schooling experience in a new light? How so?

        weish: Not schooling exactly, but teaching, yes; I was forced to confront my flaws and failings as a teacher with new eyes, which has been difficult, but cathartic. The show has also reframed my feelings looking back on my time in the service—where before I had filed these memories as depressing or scary, I now remember all the things that were delightful, life-affirming. Avuncular maths teachers and their dad jokes; cleaning aunties who were deeply wise and kind; the hilarious and absurd things teenagers say; quiet poems and little letters and earnest journals that made me smile.

        Huzir Sulaiman: Kindness is so important. Not only for students but also for teachers, who deserve compassion and understanding from pupils and colleagues equally. I wish I had realised these things when I was a kid. I had no idea what my teachers were going through—I found out years later that some were dealing with domestic violence, with divorce, with chronic illnesses. Adults seem so powerful, but I now know how fragile they are.

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        Secondary: The Musical runs from 19 to 28 April 2024 at Victoria Theatre.

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        [Interview] Director Aarne Neeme and ITI Students on the Upcoming Double Bill Showcase

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        Courtesy of Intercultural Theatre Institute

        The second production by the graduating cohort of the Intercultural Theatre Institute (ITI) features a double bill: “Fall” by James Saunders and “The Music Lovers” by Georges Feydeau, adapted by Reggie Oliver.

        “Fall” explores the theme of loss within a family dealing with an impending tragedy while “The Music Lovers” is a lighthearted tale of mistaken identities.

        To find out more about the double bill, I interviewed director Aarne Neeme and a few of the cast members of the show.

        Why was the format of a double bill chosen and why “Fall” and “The Music Lovers” in particular?

        Aarne Neeme (director): It is always a priority to offer graduating students equal opportunities to show their talents in their final presentation. Given the composition of the class (four women, one man), this presented a difficult choice, which was made easier by choosing two plays. Thus those with smaller roles in one, could be compensated in the other. The other benefit was the choice of two contrasting styles, to fully utilise and display their acting range.

        Both plays in this production have distinct styles and demands. How did you ensure that the actors could effectively switch between the introspective nature of “Fall” and the physicality of “The Music Lovers”?

        Aarne Neeme (director): The whole basis of actor training is to develop their acting resources and skills. At ITI, together with addressing traditional Eastern forms, they are taught the difference of approach working from the inside out, and the outside in; the external and internal modes of acting. This allows for a greater flexibility in finding the appropriate style demanded by the work.

        Courtesy of Intercultural Theatre Institute

        What are some of the challenges you encountered in portraying characters from two contrasting plays within the same production?

        Cheng Kam Yiu (Yolanda): Playing two completely different characters in one production is quite challenging because both of them are of different ages and eras. Lucille is a French young lady in her early twenties from the late 1800s, while Mary is almost sixty in the 1980s. They have distinct physicalities and manners, so one has to transform completely in a split second.

        The styles of the plays are also very different: “Fall” is a naturalistic tragedy whereas “The Music Lovers” is a farce in which the characters constantly address the audience and break the fourth wall. Actors have to know the requirements for each genre and adjust accordingly. But it always goes back to the intention and subtext of the plays, which is the most challenging to me.

        As a non-native English speaker, the sense of text doesn’t come to me naturally. However, I’m grateful that Aarne is a very patient and helpful director. With his guidance and rich experience, I have a better understanding of the text. I still have a long way to go, but I’m truly thankful for having these two plays mark the end of my ITI journey.

        Courtesy of Intercultural Theatre Institute

        How do you think your training in the past three years has prepared you for the demands of this double bill? 

        Choy Chee Yew and Abinaya Jothi: There was a great deal of learning and unlearning simultaneously. Not to be overly fixated on what we have trained in, but to trust our instincts, have fun, and use what we have learned to guide us back when we get carried away. We believe the previous final year production, The Chair, taught us that regardless of genre or style, theatre conveys the stories of human beings, and audiences should see that rather than ensembles of actors “demonstrating” their abilities.

        What are some interesting insights you gained in the process of working on this production?

        Aarne Neeme (director): This production celebrates the full breath of the theatrical experience both for the actors and their audiences. From the catharsis of Tragedy (evoking fear and compassion), to the comic release of Farce (dealing with obscenity, slapstick and mistaken identities). Thus showing off the full scope of both human and theatrical experience, that we inherited from the Classical Greeks and remains with us to this day.

        Swathilakshmi Perumal (actor): “Fall” is a realistic play. We were required to sit down and deliver our lines throughout. Since most of our training is psycho-physical, it is challenging. It leans towards the film logic of experimenting with props. It is interesting to experience this type of performance on stage.

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        [Interview] Pulling Up a Chair with Li Xie and ITI Students

        / Isaac Tan / 1 Comment

        Courtesy of Intercultural Theatre Institute

        The Chair marks the debut of the 2023 graduating cohort of the Intercultural Theatre Institute (ITI). An original work directed by Li Xie, The Chair raises questions on individual and collective responsibility, grief, and the desperate, at times absurd pursuit of justice in an unjust world. Who has the right to decide? When is justice served? What do we owe to each other in the balancing of scales? 

        I interviewed Li Xie and a few members of the cast to find out more about the show.

        What is the devising process like? Was the theme of justice decided beforehand or did it evolve out of the devising process?

        Cheng Kam Yiu (Yolanda): It is a collaboration between the director and actors. We first shared our views and interpretations of the script then put the imagination on the floor. From a common understanding of the content, we devised the score using different elements such as movement, sound, space, and object. The score became more detailed and refined throughout the process. There are multiple themes in the script while the actors are exploring their own characters’ journeys of dealing with grief and loss under an extreme circumstance.

        As the students have learnt many performance forms and training systems, did you tap into their varied training as you direct the piece?

        Li Xie: Yes, the most important aspect is how to bridge their varied training beyond its forms, to discover how all various roads lead to similar core essence in performance.

        Meyerhold’s Biomechanics features quite strongly in the rehearsal process. Were there any interesting discoveries you had about the actor training system as you and your cohort worked on The Chair?

        Choy Chee Yew: We trained intermittently in Biomechanics over the past three years and the production was an opportunity to put the training into practice. The principles of Biomechanics are actually applicable in all aspects of theatre-making, but as our training wasn’t continuous, it was noticeable that the principles were not as ingrained in some of our bodies as they should.

        The rehearsal process made it clear that certain misconceptions of Biomechanics needed to be debunked. As a training system, it adopts certain stylised approaches to impart its principles, especially the etudes. However, this doesn’t mean that an actor trained in Biomechanics has to perform in a stylised manner like an etude. Even in a realistic play, the principles of biomechanics are still as relevant; precision, rhythm, clarity, efficiency, and the conscious use of the whole body in expressing intention.

        During the devising process, there were many uncertainties, such as the understanding of the characters’ intentions and how to best use a very bare stage. At times, this resulted in a lack of clarity in what we were trying to express. We were constantly reminded to return to our truthful instincts to approach the character, and then to use the training principles we’ve learnt to deliver in the clearest and most efficient way.

        What would an ideally just world look like?

        Li Xie: This is a very difficult question which has no clear answers. Everyone’s ideal is different. It’s probably a world one never regrets coming into.

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        [Interview] Steven Ang on Julius Caesar in Egypt by The Mad Scene

        / Isaac Tan / 2 Comments

        Francis Wong (Hong Kong) as Ptolemy watches Steven Ang (Singapore) as Julius Caesar and Tatiana Konovalova (Russia) as Cleopatra

        Having successfully staged Verdi’s Macbeth last year, The Mad Scene returns in September with Handel’s Julius Caesar in Egypt, directed by Hawk Liu. I spoke to producer and singer Steven Ang to find out about The Mad Scene’s sophomore production.

        What is it about Julius Caesar in Egypt that led you to produce and perform in it?

        After Macbeth, Hawk Liu and I were discussing what our next project could be. We both have a love for grand historical epics told in music, so this opera is a natural fit. This production covers Caesar’s campaign in Egypt amidst civil wars in both Rome and Egypt, and encapsulates the story in quite a stunning way, full of heroism and romance.

        The music captures the emotional journeys of its six characters so well, in addition to being fiendishly virtuosic and laden with catchy ear-worms.

        Ashley Chua (Singapore) as Sextus

        What are some of the unique challenges in playing Caesar?

        One of the biggest challenges of this production is adapting an 18th century piece for the contemporary stage. Shows back then would typically last up to five hours, with audience members entering and leaving the theatre at different times. Plot expositions were also more stylised and less propulsive by today’s standards. Hawk and I have adapted the plot and music in ways that give more dramatic impetus to the plot, while allowing the many favourite tunes that lovers of the opera know and love to be more dramatically engaging as well.

        Another challenge is that, anatomically, the music is composed for a ‘castrato’ singer, a male singer who has had parts of his genitalia surgically removed to preserve the purity of a boy’s tone with the strength of a grown man. Suffice to say that, while I love the piece and role deeply as artist, I am really not willing to make the ultimate sacrifice for it!

        Hence, the music has to be adapted for my deeper bass-baritone voice, which is common practice in the 19th and early 20th centuries. Low voices are rarely associated with florid music with fast running passages, so this adaptation is a great showcase for bass baritones!

        Hugo Van Beever (Belgium) as Achillas

        Were there any interesting discoveries in the process of rehearsing for the show?

        It has often been said that it takes a village to put on a theatrical production. This production is a true global village, with four of our six main cast members from Japan, Belgium, Russia and Hong Kong, working together with Singaporean talents in the cast and creative team. Everyone has stepped up to help make this a truly wonderful experience.

        We have learnt a lot of lessons from Macbeth last year and are applying them this time round. Francis Wong from Hong Kong has been instrumental in styling many of the looks that you see in the promos and onstage. Hawk’s artistic vision is astute and detail-oriented as always, and we are now able to incorporate better lighting, sets and backdrops to the mix. It’s been an interesting intellectual melting pot combining ancient history with period and contemporary performance practices. We hope to present a work that is faithful to its sources and enjoyable by modern theatre-goers.

        One of the best things about this production is including the up-and-coming soprano Ashley Chua to play the boy role of Sesto. She is a truly fine singer of this repertoire on top of being a committed and accommodating actor at the same time. She sings a duet with Japanese-British mezzo Chieko Trevatt that will break your hearts and give you goosebumps all at the same time. I can’t wait for the audience to hear them perform it!

        Chieko Trevatt (Japan/UK) as Cornelia

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