[Interview] Taking Five with Actors of “FIVE”

Actors rehearsing FIVE (Photo: Intercultural Theatre Institute)

Next week, the graduating cohort of the Intercultural Theatre Institute will present their final showcase, FIVE. It consists of five actors telling their stories which raise the following questions: How does it feel to be cut off from regular human contact? What happens to a mind and body which can only connect with others virtually? What does it mean to be an artist in this “new” world?

As the performance will be catered to an on-site audience at the Esplanade Theatre studio and another group of audience on Zoom, I spoke to the actors to find out more about the process.

As an actor, what are the main changes you have to make in order to cater to both a live and an online audience?

Kyongsu Kathy Han: As an actor, one of our jobs is to understand how the show is framed. This understanding informs our actor’s choice in rehearsal. FIVE is framed in two very different ways: onstage and online. I don’t think this has changed what I do as an actor, but it certainly has made the job more difficult. Each frame has its own boundaries and limits, its own sweet spots. My biggest challenge is hitting the sweet spot for both frames. Or not. I’m still searching.

Li-chuan Lin (a.k.a. Aki): 需要在表演、做動作時,注意電腦鏡頭的位置,以及可以拍攝的範圍。思考要給線上觀眾看到的角度、畫面、細節,在螢幕看到的構圖是否有趣或帶有意義,同時也要考慮現場觀眾看到整體的狀態與畫面。
在創作時,也會思考「這個動作/細節,我想讓線上及現場觀眾都看到?或是只有其中一個?」或是或是「同個動作,能否做出透過鏡頭和現場觀看會有不同的感覺或意義。」
簡而言之,需要考慮到兩個觀看視角,以及試著做出對兩者觀眾都有意義的故事。

[I need to think about the camera when I am acting or moving, as well as creating meaningful and interesting compositions for a screen. I am also considering whether the same movements or gestures can evoke different emotions to the audience that are on-site and online.]

Prajith K Prasad: First, the fundamental difference is that the live audience will see the whole body of the actor, whereas the online audience will only see a certain part of the actor’s body as captured by the computer’s low-quality camera. It is a difficult task to produce good results and it’s up to the director to pick and choose what to show with the help of the creative team.

The main difficulty for the actor is working with the team to tell a narrative on an online medium in the best way you can, while being aware of the energy you are directing to the audience sitting right in front of you. You have to be more generous and patient. The dynamic energy that is usually there while devising a theatre work changes into a different form because of the intervention of technology.

A major component of your training is an exposure to various traditional Asian art forms. Has that informed the way you approach this modern mode of performance?

Kyongsu Kathy Han: The traditional Asian art forms did not directly prepare me for a “Zoom theatre/performance”. What the training did give me is the courage to face difficulties; to remain grounded when negotiating with the unfamiliar.

Li-chuan Lin (a.k.a. Aki): 其實我還在試著了解傳統表演怎麼影響我在當代戲劇的演出。這似乎不是短時間就能悟出答案的問題。目前在創作的過程中,會試著加入傳統表演的form,從外在形體找到內在的感受;或是在某些言語或肢體等的表達過程中遇到困難,也會找尋曾經學過傳統表演內在表現的部分(例如日本能劇外在表現平靜如水,內在能量濃烈如火),來套用在自己的創作上。

[I am actually still looking for the answer on how the traditional forms have influenced me in this contemporary performance. It’s not easy to find the answer.

But for now, in the devising process, I have tried both ways. The first is using the physical form, using outside physical work to find inside feelings/emotions. The second is the opposite. I use the elements of inside expression in traditional forms (e.g. in Noh, the physical movements are as quiet as lake water, but the energy inside is as active as fire) to find vocal or physical expression.]

Ramith Ramesh: For starters, training in various traditional art forms makes me aware of the minute details that are crucial to the craft of performing. This is especially relevant when performing for a Zoom audience, as it ensures appropriate and efficient execution of the movements. 

One key component of Kutiyattam that has made it easier for me to perform in front of the laptop, is to ‘perform for the lamp’ and keeping a close performance area around it in my mind. In Kutiyattam, the lamp is always viewed as our audience. So I simply envisioned the laptop camera as the lamp, while transforming the screen into the close performance area. My training in the traditional art forms has given me stability and flexibility to adapt to all sort of changes.

 Rhian Hiew Khai Chin: For me, the traditional Asian art forms have definitely changed my body and voice in my performance. I am able to create a new way of telling a story by weaving the vocabulary from these forms into a contemporary performance.

Performing for two groups of audiences (Photo: Intercultural Theatre Institute)

Are there any interesting discoveries in the process of creating this piece?

Kyongsu Kathy Han: During rehearsal, we explored different ways we can still play theatre games online through Zoom. In the beginning, I was overwhelmed by a sense of loss. I was made aware of the things that I took for granted, such as being able to sense another being when breathing in the same space. But we adapted, changed some rules, and made new games. It is not the same. But with death, we also found rebirth.

Li-chuan Lin (a.k.a. Aki): 第一個有趣的點還是,學習如何作出Zoom的線上演出。

第二個是,第一次可以在舞台上展現我自己喜歡的藝術:繪畫、摺紙、剪紙、小裝置藝術。這些靜態的視覺藝術,多半只是我自己的孤芳自賞。但在這次的創作中,有機會讓它們被展現出來,雖然只是小小的一部分,也是感到很開心。

[First: Studying how to perform on Zoom. Second: It is the first time I can present my other art works (e.g. drawing, origami, paper-cutting and small installation art). These visual art forms are usually an indulgence for me, and are never shown. However, they are seen from this opportunity. Although they are not shown much, I am still satisfied.]

Ramith Ramesh: It is a strange and funny thing for actors to feel a sense of empowerment from looking into the eyes of the audiences. However, performing in front of a laptop screen has made me more self-conscious, as I sometimes overthink about the acting, the voice, and the looks — something that never happened to me while performing live. 

There were also technical troubles at the beginning that I found hard to cope with. The real struggle then came in balancing my acting and voice to fit the requirements and direction of both mediums. It took some time for me to make my peace with it.

What does it mean to be an artist in this new normal?

Kyongsu Kathy Han: That is very hard to say. On one hand, I am mourning, heavily. On the other hand, I feel challenged, which is probably a good thing. For theatre is about conflict and tension, discovery, meaning-making, and pushing boundaries. It’s been a steep learning curve, and despite the drastic change in what we know as theatre, we’re carrying on. So I’m looking forward to sharing FIVE with an audience, onstage and online.

Li-chuan Lin (a.k.a. Aki): 我把這件事當成「藝術進入了另一個時代」。
就像生命會依不同自然環境改變進而演化;人類文化會隨著時間、空間、社會環境產生變化。現在我們遇到這樣的時空背景與條件,對我而言就是保持開放的態度,嘗試不同的創作模式。過程當然會感到不適、不習慣、不知所措等負面狀態,但結果或許會很有趣也說不定。即使失敗了,也沒關係,因為這是下次創作的養分。

[I think that “Art is going to another era”. Life evolves when the natural environment and culture changes because time, space and society are different.

For me, I just keep an open mind and continue trying and learning — maybe there’ll be something interesting. Even if I fail, it is alright, as failure serves as the nutrient for creating my next work.]   

Prajith K Prasad: I believe that a performance without a live audience is not theatre. Theatre should be experienced live. However, I’m glad that we get to bring FIVE to a small live audience in these turbulent times. Regardless, I believe that theatre will find its way back and people will continue to tell stories through art, even in this new normal. So to be an artist in these times is made even more significant.

Ramith Ramesh: Art flourishes in crisis, I believe. The worst times present the best opportunities for nourishment. It is sad, but true.

 Rhian Hiew Khai Chin: There are many challenges the artist needs to work against during this pandemic, as they struggle to find creative new ways to make art. However, I am still hopeful that I’d be able to use this time to reflect on myself and my art in the community. I hope to continue experimenting, to use my art to motivate and encourage others. And, of course, to keep healthy.

Read: ITI Navigates Between Live and Digital Performances with “FIVE”


FIVE will run from 12 to 14 November 2020 at the Esplanade Theatre Studio and Zoom. Tickets from Peatix

ITI Navigates Between Live and Digital Performances with “FIVE”

In a first for the Intercultural Theatre Institute (ITI), the graduating cohort will present FIVE, a live performance to audiences at the Esplanade Theatre Studio and on Zoom.

Under the direction of Kok Heng Leun, artistic director of Drama Box, FIVE is a devised piece which explores the experiences of solitude and separation. This hybrid performance can only be possible with the collaboration of some of Singapore’s leading artists, including Genevieve Peck (video and lighting design), Guo Ningru (sound design), Tan Wei Ting (film direction) and Lim Chin Huat (costume coordination).

I interview director Kok Heng Leun to find out more about the show.

Director Kok Heng Leun speaking to the production team of “Five”
(Photo: Intercultural Theatre Institute)

Why did you choose to create a hybrid performance in which audiences can either watch it live or on Zoom, as opposed to sticking to one form of engagement?

As the pandemic is quite a volatile situation, our approach with dealing with it is to imagine the live performance being watched on both Zoom and on-site. So even if theatres remain closed, we have already designed our rehearsal process to accommodate for online viewing. 

What are some of the major challenges of directing actors to cater to both a live and online audience?

Directing actors for both a live and online audience requires us to create two different scores. The actors have to learn to work with two mediums and cater their blocking and stage composition to both.

Are there any interesting discoveries that would inform your work as a theatre-maker? Is there something you learnt from this experience that you might explore further?

I think it further underscores the importance of having enough resources for experimentation during rehearsal. The two mediums are very different, and a lot of time and resources are needed to see how they can interweave with each other. In a way, we are exploring a new dramaturgy of work. I look forward to seeing how this new form can develop in the future.

What does it mean to be an artist in this new normal?

I feel that it has not changed. As a practitioner, my concern has always been on how to engage with the audience, as well as how the art is made and distributed. In that sense, artists are always dealing and responding to change. And we are still in business.


FIVE will run from 12 to 14 November 2020 at the Esplanade Theatre Studio and Zoom. Tickets from Peatix

Teater Ekamatra presents Baca Skrip: #Causeway

In the final instalment of Baca Skrip, Teater Ekamatra takes us across the border and back with Aflian Sa’at’s “Causeway”. 

I spoke to the actors involved in this presentation to find out more about their processes and thoughts about the play. 

Could you give us some insights as to what the rehearsal process was like?

Iedil Dzuhrie Alaudin: It has been fun! I’ve always enjoyed working with actors from around the region to share stories. The first session was a read and trying to understand the context of the play and how we are going to interpret it. The next few was to make sure we get everything in order. Being in a room with great talents is a blessing. Everyone is on the ball and gunning to make this production amazing! You might think that having to just sit in your room during rehearsal is easy, but it is quite tiring! You have to deal with the text and technology!

Hafidz Rahman: It’s definitely different doing zoom rehearsals but I think the good thing about zoom is that it keeps me alert throughout—I don’t get to zone out like I usually do during normal rehearsals. It’s a lot of reading, a lot of technical discussions, a lot of preparation and a lot of sitting.

Umi Kalthum Ismail: Most of the time I spend time solving tech problems! When it comes to acting, it is a strange feeling. While it is fun to get into character in my own bedroom, I’m not entirely sure if I’m all in. I feel like I’m giving my all but I’m not sure if my co-actors are feeling me, the way I want them to!

Fazleena Hishamuddin: Proses rehearsal secara online memerlukan para pelakon tidak hanya membaca skrip dan berlakon, tetapi terlibat dalam hal-hal teknikal. Pelakon perlu sentiasa bersedia untuk menukar aplikasi snap camera untuk kepelbagaian karektor. Juga berdepan dengan masalah-masalah coverage internet dan lain-lain. Namun proses interaksi yang baik antara krew dan pelakon dapat melicinkan proses latihan.

(The online rehearsal process requires the actors not only to read the script and act, but to engage in technical matters. The actors must always be ready to change the snap camera app for a variety of characters. We also faced internet coverage problems and others. But the process of good interaction between the crew and the actors help smoothen the training process.)

Arjun Thanaraju: The rehearsal process was definitely different than anything I have ever experienced before. Not only are we taking notes as actors but we are also taking notes as our own camera person, lighting director, special effects coördinator, and so much more! This made me appreciate just how much work goes into a production and how important every element is in making the show a success. 

Darynn Wee: It’s a unique kind of process compared to the usual physical rehearsal. It’s convenient because we don’t have to travel to the rehearsal place, but  it also not that convenient because of the technical demands. A few of us had to figure out some technical issues before the rehearsals and sometimes even during rehearsals. But once we got it settled, it’s a huge relief. With this group of people, it has been really fun! I enjoyed every bits with them. We especially had a good laugh over the ridiculous camera filters. That sort of broke the ice for us. Something we wouldn’t get to experiment with the ‘live’ sort of encounter. That’s a bit sad because we’re still missing that physical connection.

Gloria Tan: All rehearsals have been held online, with a good amount of time spent with us trying out new filters for each scene and giggling at one another, from Singapore to Malaysia.

What are some challenges you face, especially when you are not in the same room with the rest of the cast and crew?

Iedil Dzuhrie Alaudin: Technology can be your friend and your worst enemy. We always pray for smooth connection all the time. There were times during rehearsals when some of us had to drop out due to poor connection or tech difficulties. As actors, we need to learn to multi-task now and become tech-savvy along the way! It is definitely a new experience. I do miss being in one space with fellow actors and crew not forgetting the live audience. However, we could sense the energy from everyone involved, and everyone is rooting for each other to do well, so that is a nice feeling. The first few rehearsals were to understand the play, now, it is to make sure we get the technology down for a smooth run.

Hafidz Rahman: My main challenge is really bridging that human interaction online because I cannot talk to them in the flesh. We don’t get to hang out together during breaks or after rehearsals so it almost feels like a long-distance relationship.

Umi Kalthum Ismail: It is hard to get a sense of everyone’s energy while we are online. It’s hard to break the ice with the other actors and crew members whom you’ve never worked with on a zoom call. I wished we had more time to speak to each other.

Fazleena Hishamuddin: Saya seorang pelakon yang tidak boleh hilang fokus. Ia akan membuat saya stress dan gelabah. Saya juga kurang arif dalam hal teknologi. Saya selalu berdebar untuk menukar dan mengalih aplikasi. Di waktu yang sama perlu memberi penghayatan pada skrip. Ia sukar pada saya yang amatlah noob dengan teknologi. Saya seorang diri yang mengawalnya. Jadi ia memang menakutkan. Perasaan berdebar yang berpanjangan tidak baik untuk saya. Ia akan buat saya rasa sesal dan sedih tidak dapat beri yang terbaik. Saya faham jika ada sedikit saja kesalahan, ia akan beri kesan pada semua.

(I am an actor who cannot lose focus. It will make me stressed and nervous. I am also less knowledgeable in terms of technology. I am always panicking whenever I need to change and switch apps. I have to appreciate and focus on the written work, all at the same time. It is difficult for me because I’m a greenhorn when it comes to technology. I am the only one who controls it. So it’s really scary. Feeling anxious is not good for me. It will make me feel sorry and sad because I was not able to give my best. I understand that if there are a few mistakes, it will affect everyone.)

Arjun Thanaraju: Theatre has always been about human connection for me. Especially with an ensemble piece like this, building rapport with my fellow actors is something I deem very important. It was definitely a challenge to do that through a screen but I think we managed to overcome that obstacle quite early on in the rehearsal process because everyone was so warm and welcoming towards each other!

Darynn Wee: We don’t really know what is going on to our other cast mates or crew if something happened, and if you’re facing it, it’s like you’re alone, and the rest will be wondering what is going on. I had some internet connection problem at the first read, and I missed out some chunk of the rehearsal.

Another thing is to be on the same page with each other, I may be thinking that you are seeing what I am seeing on screen but we are actually not seeing the same thing. So what we did was we shared screen or shared our screenshots in WhatsApp.

Gloria Tan: Sometimes the room (online) can be rather cold. You come online and saying hello to give a little burst of energy, but no one replies you because everyone’s mics are all muted, and everyone is intently looking at their screens because the internet connection is not stable. Lines with repartee are definitely tricky especially with varying internet speeds (Dear internet Gods, please generously bless us with smooth and stable internet speeds on the 28th of August. Thank you.) which sometimes can be funny when the video frame freezes up when someone is mid-sentence.

That being said, major kudos to the production team for tirelessly working to get everyone up to speed and working to make sure everyone is on the same page while working in isolation.

Has this process made you look at the piece that you are involved in a new way? How so?

Iedil Dzuhrie Alaudin: I feel that this form of staging lets you view the stories deeper as you could really see what the characters are going through. You literally get a close-up of what is going on. But there’re also parts where you have to leave it to imagination. For a play that was written 20 years ago, it’s funny how some of the stories and criticism still resonates today. As for whether this is new normal theatre? I think this is  just another form of theatre performance in its infancy stage. A lot more to explore. I just like the potential of it getting a bigger reach globally. You can be in Antartica and still watch a live performance!

Hafidz Rahman: I have read “Causeway” when I was in college and the same themes still resonate with me. It’s just that in this process, with COVID and the inability to actually experience Malaysia, it gives a certain sense of longing. I miss Malaysia.

Umi Kalthum Ismail: This process has made me looked at all scripts differently. It makes me question how much of my upper body and voice can help tell the story better!

Fazleena Hishamuddin: Namun begitu, inilah cabaran yang perlu saya hadapi. Perlahan-lahan saya belajar beradaptasi dengan teknologi. Ia bagus untuk membentuk sikap dan pemikiran saya. Belajar benda baru, bertemu dengan orang baru dan meraikan cabaran bersama. Kalau inilah norma baharu seni persembahan, saya perlu berusaha mengatasi ketakutan saya.

(However, this is the challenge I have to face. Slowly I learnt to adapt to technology. It was great way to shape my attitude and thinking. Learn new things, meet new people and celebrate challenges together. If this is the new norm of performing arts, I will continue to work on overcoming my fears.)

Arjun Thanaraju: I tend to favour narrative-driven pieces because I find the stories more compelling. However, this process has definitely showed me that you can still tell a compelling story through whacky and playful means! This has opened my eyes to a different way of storytelling, one that I intend to pursue further in the future.

Darynn Wee: This script is an interesting piece and we got the chance to just play around and explore a few new things together. Although Alfian wrote this piece several years ago,  some of the issues being talked about are still relatable. We don’t really talk about it as much anymore now, but we still have those thoughts and memories at the back of our mind. I believe we all have our identities tied to the country where we are from and have some sense of pride and memory to it.

We had the liberty to give our input at the last part in introducing ourselves and that brought in some form of our own identity to the piece. So to me, this version of the piece is now ours, in a way.

Gloria Tan: I think the one that stands out the most right now above everything else is how much we all miss theatre and being in a space with the whole team. We also miss the bonding aspect of theatre when everyone works together and feels each other’s energy to  create collectively. We are all very much done with the pandemic.

I would like to thank Teater Ekamatra for creating this Baca Skrip: #___ platform for performers to continue practising and (in the aspect of Causeway) reach out to our fellow performers in Malaysia to remind us all that we in this together and that we are not alone.

Singapore needs Malaysia as much as Malaysia needs Singapore.


Baca Skrip: #Causeway will be presented via Zoom on 28 August 2020 at 8 p.m. Tickets at $10 from Peatix.

Teater Ekamatra presents Baca Skrip: #IkanCantik

The third instalment of Baca Skrip features Aidli Mosbit’s Ikan Cantik which meditates on issues such as the historical (mis)representation of women; gender roles and sexuality; women in popular culture and the biases; and privileges of female power dynamics. 

To find out more about the processes that go into present an online reading via Zoom, I interviewed some of the actors involved (Farah Ong, Suhaili Safari, Rafeyah Abdul Rahman, Elnie S. Mashari) in the presentation. 

Could you give us some insights as to what the rehearsal process was like?

Farah Ong: Reading. Just listening to the voices and tapping into those memories from a long time ago, and re-creating some experiences. There are a lot of technical details involved: checking of sound, angling of camera, and testing the intensity and colour of the lighting.

Suhaili Safari: The rehearsal process has been very technical when it comes to setting up our space every night. Having it being consistent especially with lighting and sound makes it easier for us to make a good show.

Rafeyah Abdul Rahman: What goes on behind the scenes is amusing. My rehearsal space is filled with costume and makeup on the right and IT peripherals, wastepaper basket (and snacks ssshhhh) on the left. The blinding ring light is in front of my laptop. Being older, presbyopia is a bane. Otherwise, getting on board and switching into character is easier than connecting through zoom on a weak wireless connection.

Elnie S. Mashari: Rehearsals started a month ago, with five or six sessions lasting two hours each. It was pretty refreshing to get into a “rehearsal” mode after months of not being actively involved in a production. It took a couple of sessions to get into the flow of the rehearsal process. It  would take 30–45 minutes to set up the technical elements  before the actual read. The session would end with a round of notes. While we plan for our rehearsals to last for two hours, it would usually stretch to three, which is fine as we had nowhere to go except to sleep after that. 

What were some challenges you face, especially when you are not in the same room with the rest of the cast and crew?

Farah Ong: The technical part is really challenging. The internet connection determines how you’re gonna sound, whether it’s going to lag. So, it takes a lot more energy and focus and listen. It’s listening plus something else.

The satisfaction is completely different, of course. Rehearsing on Zoom takes away the joy of human connection. So, your brains got to work double and triple hard to process.

Suhaili Safari: While needing a consistency in the quality of lighting and sound, sometimes we have to deal with unannounced noise bleeding from our environments because we are playing in our own homes . We also have to work with the latency of visual and sound when our network gets wonky and our Bluetooth earphones run out of power. Basically, we got to get our technology right at its peak at all times which is the main challenge of making online live shows. Besides that, having it directed in a tinier space made me feel claustrophobic, but that’s only because I had to think outside the conventions of stage playing and more of working within the idea of probably what film/TV would entail like eye line in film acting.

Rafeyah Abdul Rahman: Synergy. But fortunately, it’s a read. Nevertheless, the lag in connection requires a lot of waiting and patience from cast and crew. What’s interesting is that we get to use digital apps to get things up and make things work when otherwise it’ll purely be us on stage.

Elnie S. Mashari: I guess getting into a robust or an active discussion is hard because rehearsals were done over Zoom, and we we would not be able to hear each other at all if we accidentally talk over each other. It is like being in class, where we need to raise our hands before we share our opinion. 

Has this process made you look at the piece that you are involved in a new way? How so?

Farah Ong: It’s interesting that all these issues are probably still happening now. Just in a different language and vocabulary. The root of the problem and the issues are still the same. I guess humanity hasn’t evolved that much, you know…This whole Zoom process makes me miss the actual rehearsal and creation process of making theatre in general.

Suhaili Safari: Well, this is my first time working with #ikancantik as opposed to the rest who are revisiting it. Finding relationships with characters of actors I’ve not worked with before from behind my laptop screen made me imagine myself in a fishbowl and talking to fishes from other fish bowls. 

If this is rehearsed as a show rather than a script read, I wonder what dynamics will need to be in place to highlight relationships of characters without having them meet in the same space?

Rafeyah Abdul Rahman: It gets cast and crew to think of solutions that befit a zoom read. We have to lift the words off the script and how to do that without ‘acting’? Mastering the text and improve on eloquence—thus providing depth for each word, phrase, and sentence. The script still feels light-hearted but belies the weight of so much research, careful representation and deliberation.

Elnie S. Mashari: It definitely opens up a new perspective into performing for Zoom  or acting for a live-stream. The stage version allowed us to express ourselves more with body language and gestures. For Zoom, we need to capture our emotions and intention within that single frame. Using only our voice, facial expressions and upper body reactions. This gives me the tool to access insights to the character’s psyche and the sensitivity required in the delivering of the lines. I think that’s the main new change I experienced.

In addition, 22 years have passed. Our collective years of experiences have provided new insights to the issues raised in the 1998 production. We have now a bigger pool of information and experiences to support our choices for the characters.


Baca Skrip: #ikancantik will be presented via Zoom on 24 July 2020 at 8 p.m. Tickets at $10 from Peatix.

Reconsidering Singapore Malay Theatre with Fezhah Maznan

After successful runs of the first two instalments of Baca Skrip, a monthly reading of plays in the Singapore Malay theatre canon presented by Teater Ekamatra and Fezhah Maznan, I interviewed Fezhah to find out more about the project.

 What drew you to this project?

The pandemic got me in a paralysis. Not only based on what was happening in Singapore but also what I had experienced internationally having flown in and out of Singapore in March due to a death in the family. The time that I took to retreat and recalibrate gave me the opportunity to look at what was happening in Singapore theatre and to consider how I would like to respond.

One of the biggest absence I observed then was the lack of Malay theatre programmes. It’s not surprising as there are not that many active Malay theatre companies and the main headliner, Teater Ekamatra had been decimated by two cancelled productions. At the same time, I was and still am very concerned by how my theatre colleagues suddenly found themselves without jobs for the unforeseeable future. Having been a freelancer at the start of my journey in the arts, I know how hard it is to put food on the table. It’s even harder in a pandemic.

It was also then that Centre 42 went onto Zoom to celebrate their 6th anniversary and presented a reading of WRITES by Robin Loon. I was very blown away by how simple and affective the reading was, and I must credit Centre 42 for being the trigger to this project.

What made the production team decide to revisit some seminal works instead of creating a new piece?

We are always caught up in the newer, fresher and the never-been-done-before. If nothing else, this pandemic has really taught me to sit still and appreciate what we already have. So this project started with a simple idea—to sit and (re)consider works from Singaporean Malay playwrights, works that you cannot not mention when you recount the history of contemporary Malay theatre in Singapore. When else could you sit again with these texts? Additionally, there is very little effort in documenting the work done in Singapore Malay theatre. So revisiting these works also help to record a slice of history from the perspective of the playwrights.

I actually imagined this to be a simple reading but Irfan Kasban and Noor Effendy Ibrahim have pushed the bar further by reworking on their scripts and directions for their 2020 audience and also for the digital platform. I am fuelled by their enthusiasm and I admire how patient they are to play around with the digital plane in delivering a ‘live’ reading.

Coming out from our first presentation with Irfan’s Hantaran Buat Mangsa Lupa, our audience did appreciate how the reading was directed and the earnestness that came through the screen.

What were some of the difficulties in creating this work given that everyone cannot be in the same room?

At the start of the rehearsal, under normal circumstances, there is always time to breathe and be together. There are hugs, jokes, greetings and commiserating. Unfortunately, this doesn’t automatically translate when we rehearse digitally. We came in and immediately started to work. However, this was something that didn’t work out very well for us. So after the first rehearsal with the first cast, we decided to begin our rehearsals with ample time to be together before going into notes or reading.

There is of course the unpredictability of technology. We are not sure if the WIFI connectivity is going to drop or if the platform is going to fail us. There is a HUGE amount of uncertainty. Every rehearsal we find ourselves faced with new issues to deal with from lighting to echoes to mysterious issues that blacked out our surtitles.

All of these sound scary but I am sure it’s only happening because we are just getting to know the virtual platform. I am confident (foolishly or not) that this will only get better with time and lots of practice!

Has this process made you look at some of the scripts in a new way? How so?

One of the things that we didn’t want to do is to over direct the work. It’s a very conscious effort to put the text in the foreground. Hence, each read is accompanied with the original text and English surtitles. Audience members do also have the option to focus on the actors or the text or, if they choose to, to look away and listen to the reading like an audiobook. These options give greater autonomy to the audience to appreciate the text based on their preferred mode.


The next instalment will be a presentation of Aidli Mosbit’s Ikan Cantik on 24 July 2020. Tickets from Peatix. Stay tuned for more information.

Teater Ekamatra presents Baca Skrip: #AnakMelayu

In the second instalment of Baca Skrip, a monthly series of online readings of Singaporean Malay plays, Fezhah Maznan and Teater Ekamatra presents Noor Effendy Ibrahim’s Anak Melayu

I interviewed some of the actors involved in this read (Izzul Irfan, Rusydina Afiqah, Farah Lola, and Ali Mazrin) to find out about their experiences with performing via a digital medium. 

Could you give us some insights as to what the rehearsal process was like?

Izzul Irfan: The rehearsal process has been very interesting for me as an actor because I sort of have to come up with a new vocabulary as a performer. You are playing the dual roles of both performer and technical team in a sense, because if you freeze or get cut off or your connection’s down, it’s on you to bring yourself back online and working well. So, there’s that headspace that I have had to get used to. Other than that, I think learning to connect over Zoom has been interesting—I have always seen this mode as purely a communication platform and not so much a ‘connecting’ platform. But the process has really been about re-learning how to reach out to the audience (when you can’t see them) and it’s been challenging but rewarding.

Rusydina Afiqah: To start off, there was a read to understand the flow of the story and the characters. Then we went straight in to cover the play bit by bit, a little more in depth each time. Questions were raised as we understood this world a little better.

Farah Lola: All of the rehearsals were held over Zoom calls. Other than it being tricky tehnically, the reading and blocking was easy enough to do.

Ali Mazrin: Basically, we have been going through rehearsals online via Zoom. Which includes all the cast, director and also the crew. Having to pick a spot in my own house and making sure everyone at home do not interrupt the rehearsals is quite hard but fun at the same time.

What were some challenges you face, especially when you are not in the same room with the rest of the cast and crew?

Izzul Irfan: Honestly, it drives me crazy that I cannot ‘feel’ everyone’s energy properly because we are not physically present together (which is something I really miss). So I think doing an ensemble piece where there is contant ping-ponging of energy on a virtual space has been difficult. With Anak Melayu, getting the tempo right is important and we’re really working hard towards that.

Rusydina Afiqah: For me, understanding the story took a while longer. There were a lot more things to juggle than just imagining the world. There were five more tiny screens during rehearsals that I had to be aware of, all at the same time.

Farah Lola: Perhaps physical and eye contact. Our eyelines were a little different because we were looking at different points of the screen, and you really needed to refine vocal inflections to know who the character is addressing but we’ve managed to work it out. We also had to bounce off energy more vocally as there was no physical space with other actors to feel out.

Ali Mazrin: Because it is an online rehearsal, we face quite a number of technical challenges such as the connection of the internet and also capturing of the cast’s voice. Being in a different space then the rest of the cast makes it more challenging in having the same energy as everyone during rehearsal.

Has this process made you look at the piece that you are involved in a new way? How so?

Izzul Irfan: Effendy’s plays are always very physical, and as he told us about the past iterations of Anak Melayu, you can clearly see there is a physical vocabulary that he builds and it’s beautiful. He always says he’s not much of a ‘text’ person. But as I was working on this play on a virtual platform, his words really come to life – all the subtexts in all its glory, and three-word lines from one character hold entire worlds in them. While it has been close to 20 years since he created them, his characters are still very much alive and kicking.

Farah Lola: It is my first time familiarising myself with this piece, and my first time doing a play on camera in my own home! I think everything has been whittled down to the subtleties due to it being closer to the audience, therefore it would feel more intimate.

Ali Mazrin: It’s amazing how we still manage to do rehearsals and shows live, online. But I definitely still wish that this was a staged show where everyone is together, so as to also feel the audience’s energy when we are performing.


Baca Skrip: #AnakMelayu will be presented via Zoom on 26 June 2020 at 8 p.m. Tickets at $10 from Peatix.

[Interview] Finding Resonances in Poop! with Berak

To kick off their 2020 season, Teater Ekamatra presents Berak, a transcreation of Chong Tze Chien’s Poop!, which chronicles an aftermath of the suicide. 

I spoke to transcreator Zulfadli Rashid (ZR) and director Mohd Fared Jainal (MFJ) to find out more about the piece and what drew them to Chong’s original play, which can be considered a modern classic in our theatre canon. 

The work is described as a transcreation of Chong Tze Chien’s Poop! Could you explain what do you mean by “transcreation”?

MFJ: Transcreation is becoming quite synonymous to our line of work at Ekamatra. Apart from creating original plays, we find originality within these scripts that resonate strongly as viewed through the lens of an ethnic minority.

In Harap (2017), it was about suicide and homosexuality; Potong (2018) talks about dementia in the family with a transgender character; and A Clockwork Orange (2019) was about violence.

Poop! is a great play written by Chong Tze Chien and it’s one of those that strike an emotional chord based on the plot and premise—a broken family whose father committed suicide and a daughter fighting cancer and on the brink of her impending  fate.

What drew you to transcreate Poop! in the first place?

ZR: I watched Poop! a few years ago. I remembered that I left the theatre with such sorrow. No silver lining, no moral of the story. Still so beautiful. I loved how honest it chose to be. Then, sometime in 2018/2019, Shaza asked if I was interested in adapting Poop!  I just had to do it.

MFJ: As depressing as it may seem, on a micro level, these characters represent people who have lost so much—dignity, will, trust, identity, and the meaning to live. They could be our family; friends; neighbour; colleague; the person sitting opposite us in the train; the taxi driver; the stall owner; the man in suit; the lady on a bicycle. Just anyone.

But on a larger view, it reflects how the system is causing people to struggle, to have a skewed perspective and face death way before we are boxed up. 

Are death and berak taboo subjects in a “Malay” cultural context and in Islam? If so, could you elaborate on this?

ZR: I don’t think the Malays view these things as taboo. We talk about both death and passing motion all the time, but some do it  “beralas” (Malay-styled euphemism).

Islam also does not view these subjects as taboo. Death is merely a rite of passage for a human being, and it is not the final destination. How one dies, however, will determine one’s fate in the afterlife.

MFJ: About 98 per cent of Malays are Muslims by default and these plays may contain difficult issues or taboos that do not sit comfortably to some. However, they deserve the attention as we continue to represent a wider spectrum of people within our community. It may not lead us to any solutions, but the bottom line is to acknowledge and say that some people need more help than others. Let’s not sweep it under the carpet.

Are there any interesting discoveries that occurred in the process of transcreation and rehearsals?

ZR: I am always discussing with Fared and Safuan (the sound designer) on how to ensure that Berak is not merely a translated play performed by Malay actors. Berak must exist in a Malay universe with all its absurdities and peculiarities. Only then, I feel that we can have an honest conversation with regards to the play’s subject matter.

MFJ: Zulfadli Rashid (Big) is a bilingual writer who has strong sensitivity towards the Malay language, culture and psyche. He has been brilliant in trans-creating the works at Ekamatra, especially Berak. However, the creative input is not just limited to the playwright or director. Actors, designers, managers and crew help to carve and colour that world, and make it as authentic as possible.

Perspectives definitely change and heightened once culture is brought into the picture. The process of transcreation gives us the artistic licence to build a world within our own parameters and identity.


Berak runs from 25–28 March 2020 at Ngee Ann Kongsi Theatre, WILD RICE @ Funan. Tickets from Sistic

Update: This performance has been cancelled due to the COVID-19 pandemic.

[Interview] 4.48 Psychosis is “already an intercultural work to me”, Director Andy Ng Wai-Shek

In slightly over a week, the graduating cohort of Intercultural Theatre Institute (ITI) will present the first ever multi-lingual adaptation of Sarah Kane’s 4.48 Psychosis. I spoke to director Andy Ng Wai-Shek, an award-winning practitioner from Hong Kong  and alumnus of ITI’s pioneering batch, to find out more about the production.

Andy Ng Wai-Shek / Courtesy of ITI

How does it feel to return to your alma mater as a guest director? How has ITI changed over the years since you were a student?

I still feel very much part of the school even though I have met different faces. There is a vibration that keeps reminding me this is where I came from. After 17 years, I’ve come to realise how this programme isn’t just about simply doing theatre — it’s about personal perceptual experiences.

This programme synthesises the differences between cultures; perceptions of different bodily experiences; the possible marriage of body and mind; and, most importantly, the unanswerable question of how to put different training methods into one. It sets a foundation of life-long research for a person in the evolution of his life. In fact, this is the research I’m still doing all these years since my graduation. I suggest ITI can also play a role to encourage the research.

4.48 Psychosis is not immediately thought of as an intercultural work. What drew you to adapt this piece for ITI?

It is already an intercultural work to me when I knew that I had to work with students from Taiwan, Malaysia, India, and Korea. 4.48 Psychosis is more on personal thoughts and feelings than drama. The structure of it drifts on a stream of consciousness. It is logically disrupted. In other words, it can be very personal.

Though the work is in English, I would like them to try certain scenes in their mother tongue. The idea of it is that there are five storytellers telling the story, sometimes deeply immersing themselves into the very thoughts and feelings of “I”. One of my interest when directing is the connection between one’s consciousness and his or her being. Now, the text says it. The actors need to find their ways to reveal it. They show me according to what they can do individually. That’s already intercultural.

ITI’s graduating cohort rehearsing 4.48 Psychosis / Courtesy of ITI

Given that your actors are from different countries and from all walks of life, were there any interesting conversations about mental health that arose during the rehearsals?

I had depression since last August and have recently stopped my medication. I shared my experience with the students. They shared their experiences with me and their fellow peers. Some students have also consulted a counsellor. I think depression or mental health is already a common issue nowadays, it is just a matter of seeing whether it is serious enough for a person to consult a doctor or not. I am not interested in telling a story of mental disorder. I think the playwright did try her last call for help. Why? I hope that the audience can understand that.

Could you give us a glimpse of what the show would be like? Do you tap on the actors’ intercultural training in your direction of the show?

Five storytellers telling this story, using a psycho-physical approach to develop the work of a visual poem. Yes, some of the scenes to use their intercultural training, but it’s a different look. How so? You will have to come to the show to find out.


4.48 Psychosis by Intercultural Theatre Institute runs from 12–14 March 2020 at The Drama Centre Black Box. Tickets from Peatix.

[Interview] Director Phillip Zarrilli and Playwright Kaite O’Reilly on Lie With Me

Come November, the graduating cohort of the Intercultural Theatre Institute (ITI) will be presenting the Asian premier of Kaite O’Reilly’s Lie with Me.

Originally set in London, this production will be localised to look at contemporary life in Singapore through glimpses into the lives of eight young people, exploring issues such as the evolving ‘rules’ of sexual encounters in a ‘swipe right’ culture, and the ways in which people survive and form genuine relationships in an increasingly unstable and consumerist society.

To find out more about the show and the creative process, I spoke to O’Reilly (KOR) and director Phillip Zarrilli (PZ).

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[Interview] Crossing Lines with Director Koh Wan Ching

In the latest public showcase by the graduating cohort of Intercultural Theatre Institute (ITI), they will be presenting a line could be crossed and you would slowly cease to be, a new play by Australian playwright, Andrew Sutherland.

According to him, the play “attempts to untangle difficult concepts of futurity and futurelessness against the imminent existential threat of climate futures. From the natural to the interpersonal, the play contends with the deep exhaustions and ambivalences of witness and memory.”

To find out more about the play, I spoke to the director of the production, Koh Wan Ching. 

In your previous work, precise purpose of being broken, there is a scene in which you highlighted our insatiable consumption of plastic. How has that process of creating that work made you more aware of environmental issues?

For precise purpose of being broken, I had to collect hundreds of plastic water bottles to be used as props. Rather than partnering up with organisations that had an easy supply of used bottles, I decided to see if it was possible to accumulate the bottles I needed by doing tiny beach clean-ups along East Coast Park. The speed at which I began to accumulate bottles was shocking, and it became clear to me day by day that the so called environmental concern I was addressing is more rightly described as environmental crisis.

What is your process of working with playwright Andrew Sutherland?

Andrew and I worked sporadically together; I read his plays and poetry and followed his development as a theatre-maker, performer, and playwright. The seed for this project was planted two to three years ago, when I asked Andrew to write some texts with the stimulus: rising water, furniture and two women. Although this particular project did not take off, the texts he had written stayed with me until I was given an opportunity to direct this showcase by ITI.

I asked Andrew what most occupied him at the moment and what he would most want to write about. Likewise, I shared with him what kept me up at night. We exchanged articles and readings, notes, songs and videos. I think we built between us a well of thoughts, feelings, memories, stimulus and provocations that Andrew then drew upon to craft into a play.

ITI students in rehearsal (Photo courtesy of Intercultural Theatre Institute)

As you are working with students from ITI, will the show incorporate any intercultural elements?

The process that I try to bring to all my projects is one of exploration and experimentation. We spend a lot of time in the beginning of the process making compositions and devising assignments in and around the piece. We present these compositions to each other and thus develop a collective memory of movement vocabulary, sounds, objects, and imagination. These will then go on to inform the design, staging and blocking of the piece. In building up this rich and diverse store, the students negotiate their training and their contemporary bodies and sensibilities.

In the process of researching and directing this piece, have you discovered any interesting or shocking facts?

Definitely. I asked the cast to choose research topics they are interested in and we do weekly research presentations on a wide range of topics such as animals being affected by human action, costs of food production, lives of sea turtles, different types of lightning, and many more. 

While climate change affects everyone. Different cultures will have different relationships with the environment. In the course of working with a diverse cast, were there any differences that came to the fore which you found interesting or challenged your own perspectives?

In terms of the main question of the piece: What does it mean to face futurelessness and the environmental crises? We have gained a broader outlook and perspective by looking at them from different countries and societies.

For some of the cast, environmental issues may not be the most pertinent thing they want to speak about, as they currently face challenges far more pressing in their societies. But when we look at environmental concerns in less restrictive ways – it is not just about plastic in the ocean and using less plastic in our lives – we begin to see the ways that climate crises are linked to inequality and social justice. People who are the least equipped for climate adaptation and the least responsible for carbon emissions can be the most vulnerable to extreme weather events. Their food and water safety and supply can also be compromised by climate change. These issues are inter-connected. 


a line could be crossed and you would slowly cease to be runs from 5–7 September 2019 at the Drama Centre Black Box. Tickets from Peatix.