Courtesy of The Finger Players / Photo: Tuckys Photography
Puppet Origin Stories
The Finger Players
9 November 2022
One-Two-Six Cairnhill Arts Centre
9–13 November 2022
The site of Cairnhill Arts Centre was originally an estate surrounded by nutmeg plantations. The building was also once Anglo-Chinese School and the Teachers’ Training College, among other things.
I am aware of those facts not because I am well-versed in local history, but it was shared with us by the co-artistic directors of The Finger Players, Ellison Tan and Myra Loke, as the prelude to Puppet Origin Stories, a triple bill of performances by artists from various disciplines using puppets from the company’s repository.
With that rather surprising prologue, Puppet Origin Stories is more than a puppetry experimentation or reïnvention; it is also about remembrance and the company’s way of looking back at its history.
Remembrance and reïnvention are present in all three works.
Chai Jean Yinn as Shadow (left) while Liew Jia Yi manipulates Peng (right) / Photo: Tuckys Photography
In “Jabber”, movement artist Hairi Cromo takes his childhood experiences and creates a piece whereby a boy interacts with a strange creature, which is a physical manifestation of his unresolved feelings.
Liew Jia Yi deftly handles Peng, the puppet of the boy, by slipping into his feet like slippers while manipulating his hands and head through the rods attached to them. Liew’s movement work is quite detailed as she successfully creates nuances in the boy’s movements such as creating the illusion of distance as the boy greets his friends when they pass him by in school.
Chai Jean Yinn plays the teacher, who strips the boy of his prefect position after he was caught playing a fool in class, and the amorphous creature, Shadow, that haunts the boy. The former is portrayed by wearing a mask, while the latter is portrayed by Chai wearing a headscarf made from different cloths and an oval cookie tin for a face.
Apart from the sweeping movements which creates a ghost-like quality in the creature, Chai also haunts the boy by collapsing her body which lends the creature an amorphous quality.
While one can see the resemblances to Lewis Carroll’s Jabberwocky, which is one of the main inspirations for the piece, it does not have enough thrust in which the boy is working through his feelings. As it stands the boy has a slight revelation and asks the creature to leave him.
One hopes that this piece will be developed further in future and, if it could really tell the story from the boy’s point of view, it will fulfil the main goal of emphasising the importance of adult’s acknowledging the feelings of children.
Tan Beng Tian visits Ah Ma (handled by Yazid Jalil) in a museum / Photo: Tuckys Photography
“AH MA” by film-maker Tan Wei Ting remembers the past and invents a (hopefully) fictional future when puppetry is no longer practised, and it exists only as artefacts inside a museum display. A puppet, Ah Ma, is chosen to be preserved, but when Tan Beng Tian realises that Ah Ma is unhappy, a museum heist ensues.
Ah Ma is a rod puppet created for A.i.D, Angels in Disguise (2010). As she is suffering from dementia in the original production, she has a jewel inside her head that represents her memories. With a flick, expertly done by a puppeteer, the jewel is flung out, and Ah Ma loses her memories.
The theme of remembrance manifests in many ways. In the context of the piece, will we suffer a kind of cultural dementia as our performance practices die out from the lack of support? Are we truly remembering a performance tradition if it is no longer practised? Is curation a kind of reïnvention?
Tan Wei Ting traverses the past and the imagined future through the interplay of archival footage of A.i.D and having Tan Beng Tian—veteran puppeteer who was involved in handling Ah Ma in A.i.D, and has been with The Finger Players since the beginning—perform in the piece as she navigates a world in which puppetry is dead.
Yazid Jalil doubles up as the bureaucratic curator and the grumpy, but sympathetic security guard who assists in the heist. He displays versatility in both puppetry work and acting as he has to switch characters at a (sometimes literal) drop of a cap.
The duo also showcased some sensitive puppeteering. As the lines of Ah Ma are delivered through a voiceover, the timing has to be absolutely right with details such as breathing or crying added in.
Apart from a sense of poignancy, there is also a sense of child-like playfulness. While Ah Ma steals the show, there is also some—for a lack of a better term— “informal puppetry” going on.
Tan would sometimes hold and move the curator’s spectacles or security guard’s cap while Yazid delivers his lines before quickly changing characters. This harkens back to the games of make-believe we play as children—perhaps carelessly moving a soft toy while giving it voices might be our very first contact with puppetry.
Mitchell Fang (left) and Deonn Yang (right) handle Moon Baby as it stands on the body of Becca D’Bus / Photo: Tuckys Photography
In line with the provocative title, “Suck Sweat Dry, Baby!”, drag queen Becca D’Bus does not hold back and questions the premise of the whole endeavour. In her first monologue of the piece, she asks what is there to remember for a company with slightly over 20 years of history, and suggests that something only has monetary value if it has a history.
While that might be incredibly cynical, one cannot help but wonder if there is a kernel of truth when most arts companies are so reliant on state funding, and they have to constantly justify their value to stay afloat.
Beyond the usual drag act of lip-syncing to Johnny Cash’s Ring of Fire, the provocation continues in a pastiche of scenes with different puppets.
In one scene we see Moon Baby hiking up Bukit Timah Hill, represented by the contours of D’Bus’ corseted body. In the course of people-watching, a taxonomy of hikers is created, as Moon Baby wonders about human behaviour and the image that we are trying to portray to others.
In another scene, we see Sponge Girl inadvertently hooking up with Samsui Woman. And we soon see both puppets laying on top of each other while Deonn Yang and Mitchell Fang, who are in full drag, create sound effects that suggest copulation.
In most puppetry traditions, the puppets are often seen as performers themselves and are often treated with a sense of reverence. As such, it might be initially uncomfortable to see the puppets in this new context, which veers into the profane.
But it is the same reverence that allows us to imbue them with human qualities, and the provocation soon becomes an exploration of human frailties and desire.
One leaves the piece unsure of what one has just witnessed, but there is a tacit understanding of the need for human connection.
With Puppet Origin Stories set to be a yearly fixture, the premise and overall direction of the first instalment is a good start. I cannot wait to see how this platform evolves in years to come.
“Theatre review: Open-ended challenges in Puppet Origin Stories that linger” by Charmaine Lim, The Straits Times Life! (Review is behind a paywall.)
“关于守护的问题——观 ‘Puppet Origin Stories'” by 杨明慧, 剧读 thea.preter
“到经禧艺术中心作客—— 观《偶起源故事@126》” by 梁海彬, 剧读 thea.preter
[Interview] Puppet Origin Stories: Same Puppets, New Stories — My interview with the creators of the pieces.
Puppet Origin Stories: Peng — An article about how Peng, which is featured in “Jabber”, came to be.
Puppet Origin Stores: Faceless Maiden — An article about how Faceless Maiden, which is featured in “Jabber”, came to be.
Puppet Origin Stories: Ah Ma — An article about how Ah Ma, which is featured in “AH MA”, came to be.
Puppet Origin Stories: Moon Baby — An article about how Moon Baby, which is featured in “Suck Sweat Dry, Baby!”, came to be.
Puppet Origin Stores: Sponge Girl — An article about how Sponge Girl, which is featured in “Suck Sweat Dry, Baby!”, came to be.
Puppet Origin Stories: Samsui Women — An article about how Samsui Woman, which is featured in “Suck Sweat Dry, Baby!”, came to be.