Goh Lay Kuan & Kuo Pao Kun
Event: “Goh Lay Kuan & Kuo Pao Kun” by Theatreworks
Run: 10-11 Jan 2013 ((4th run out of 5)
Venue: National Museum of Singapore Exhibition Gallery 2, Basement
Conceived & Directed by Ong Keng Sen
Cast: Karen Tan & Lim Kay Tong
Character Shines Through
In a play that tells the life and relationship between two pioneering artists in theatre and dance, I had initially thought it would be more a display of the love story between the couple. It was not quite like that but there was the undercurrent of an unbreakable bond that supported and complemented each other.
A two-person cast interweaved with an interview-style session with Goh Lay Kuan and dramatised readings and analogies by Kuo Pao Kun, what came through was the depth of character of the couple. As much as it was meant to be a glimpse of Kuo Pao Kun through Goh Lay Kuan’s eyes, it was also a revelation of Goh Lay Kuan’s steadfast and honest character. The Kuo Pao Kun portrayed was the philosophical calmer half, often giving wise reflections and analogies that have deep meaning of the treatment of life, a stronghold for support and control. Goh, in contrast, a feisty figure, but it was for her passion and justice. Despite her fiery exterior, she has a nurturing and persevering spirit. It seems that much less is known of Goh Lay Kuan than of Kuo Pao Kun, at least to me, and this was an exposure to me.
I found the interplay of scenes between the two characters an insight to the complementary and supportive relationship the couple had, and a testament to their character and contribution to the industry. It also got me looking at some of KPK’s plays a little differently, which I wondered why I never before.
I think this production gives a good perspective of steadfast love and passion for what one believes in, and the era of holding on to truth for which was not forsaken; the struggles one faced in preserving freedom of expression.
The last run is from 21-22 Feb 2013 and tickets can be bought at http://www.sistic.com.sg
“Best Of” by TNS
Event: “Best of” by The Necessary Stage (M1 Fringe Festival 2013)
Venue: Esplanade Recital Studio
Run: 24-27 Jan 2013
Written by: Haresh Sharma
Directed by: Alvin Tan
Performed by: Siti Khalijah Zainal
In a monologue supposedly themed on being the “best of” TNS years, director, playwright and actress brought together an engaging piece told through pure expression of speech and acting, without the distractions of theatrics; just Siti, on a chair through the whole time, playing a young Malay woman of today going through a divorce. It was really storytelling at its basics.
The monologue was a culmination of interviews with Siti and others, and for someone who was, and still is unfamiliar with the Islamic law, I found that it presented the audience a peek into the possible conflicts of the law and modernity. It could pertain to any religion, belief or social system, but it touched on the kinds of social prejudice the realism of life and society may bring. Even though it was simply a telling of the character’s single, but crucial day, it proved powerful in its delivery and perchance to let one ponder. In between the going-ons of the day, she interjects with her beliefs, struggles and reflections.
A storytelling without the liberty of ‘physically’ getting into character, Siti did very well even by just sitting and talking. She brought the character into her own, creating a character so real that had me wondering which part was her story, which part was others.
One of my favourite references was when she talked of her interior design aspirations and the advice her boss gives her – that she should design not just on the surface but in view of space; ‘surface’ is only decorative, but ‘space’ means living. An enlightening statement that we should know, but not often said or realised. Also, there was a kind of paradise notion going on, maybe religious, maybe on an individual level. And it’s something we seek isn’t it? Will the character begin a new life in the new day based on the day’s happenings? I hope so.
I enjoyed the piece, only that I found the ending was slightly abrupt with her mention of leaving the hospital. The audience was slightly uncertain if they should start clapping at that point when she paused and eventually left the stage. But of course, we gave our applause.
Coming Soon: “9 Squares” (A Double Bill)
Event: “9 Squares” – A Double Bill by Isaac Tan & Vishnucharan Naidu
Venue: Goodman Arts Centre Black Box
Run: 15th – 17th Feb 2013
Following the principle advice of Martha Graham – “Great dancers are not great because of their technique; they are great because of their passion” has led Isaac Tan, 16, and Vishnucharan Naidu, 17, to conceptualize, manage, produce and direct their own play independently, with just a simple goal to inspire and make the youth believe in themselves.
Their production entitled “9 Squares” is a double bill, and features two plays “Gin Nah” and “Navarasa”.
“Gin Nah” by Isaac Tan revolves around 9 Singapore students as they air their grievances on life in this country, while “Navarasa” by Vishnucharan Naidu follows the Hindu tradition of the 9 human expressions which are Strength, Compassion, Memory, Wonder, Anger, Fear, Disgust, Love and Peace.
This emotion-filled play discusses the struggles of a young man and his journey towards acceptance through the journey of his shoes as a child.
Play 1: “Gin Nah” (“Children” in hokkien)
(Written & directed by Isaac Tan)
Kids, when was the last time your parents asked you why you weren’t more like your classmates? Annoyed by how they expect you to be like others when in actual fact, they would be the least ideal students your parents wished you’d be? Finally they get to witness the true colors of the ‘perfect students’ as Isaac Tan features the irritating prefect who catches you for ankle socks, Simon Lee, along with the sporty but anorexic Jim Lim and many more characters your parents never thought existed. Catch Isaac in the most outrageous outfits as he shows the adults why normal is ok and why sometimes, being yourself is good enough.
Play 2: “Navarasa” (Nine emotions of a human body)
(Written & directed by Vishnucharan Naidu)
In the Breeze’s melody,
In the music created by raindrops,
Is there anything that gives utmost
Joy than silence?
Would melodies and words penned by
Poets be as meaningful as a
Drop of tear shed?
Let the man rise in the place
Where the child reaches out.
Let the shoe travel in a
place where there’s no journey.
Join Vishnu in a journey of acceptance and
be guided by the nine principle emotions of the human body.
Show Dates: 15th – 17th February 2013
Show Times: 7:30pm (15th February), 3:30pm & 7:30pm (16th & 17th February)
Ticket Prices: S$15 Per Ticket
Ticket Purchase: Call 90849318 or email ninesquaresproduction@gmail.com with your Name, IC and the number of tickets required for your chosen show.
Facebook Page: www.facebook.com/9Squares
Website: www.9squaresproduction.com
Coming Soon: Coppélia by Singapore Dance Theatre
(picture courtesy of Singapore Dance Theatre)
Event: Coppélia by Singapore Dance Theatre
Venue: Esplanade Theatre
Run: 14th – 17th March 2013
Singapore Dance Theatre Launches its 25th Season with Coppélia!
As Singapore Dance Theatre (SDT) celebrates its 25th Silver Anniversary, the Company is proud to open its 2013 season with one of the most well-loved comedy ballets “Coppélia – The Girl with Enamel Eyes”.
From 14th to 17th March at the Esplanade Theatre, SDT will mesmerise audiences with this charming and sentimental tale of adventure, mistaken identity and a beautiful life-sized doll.
A new staging by Artistic Director Janek Schergen, featuring original choreography by Arthur Saint-Leon, “Coppélia” is set to a ballet libretto by Charles Nuittier, with music by Léo Delibes.
Based on a story by E.T.A. Hoffman, this three-act ballet tells the light-hearted story of the mysterious Dr Coppélius who owns a beautiful life-sized puppet, Coppélia.
A village youth named Franz, betrothed to the beautiful Swanilda becomes infatuated with Coppélia, not knowing that she just a doll.
The magic and fun begins when Coppélia springs to life!
“Coppélia” is one of the most performed and favourite full-length classical ballets from SDT’s repertoire.
This colourful ballet was first performed by SDT in 1995 with staging by Colin Peasley of The Australian Ballet.
Following this, the production was revived again in 1997, 2001 and 2007.
This year, Artistic Director Janek Schergen will be bringing this ballet back to life with a new staging.
Probably one of the best-known and most performed comedy ballets, this latest staging of “Coppélia” will bring fun, laughter and enjoyment for all!
Tickets can be purchased from SISTIC (here) or from the Singapore Dance Theatre office.
Ilkosa’s “Buttons” 2012 Year in Review
It’s another year passed and it’s time for a recap. Based mainly on what I can remember of the year (I have poor memory!), but not without a few regretful moments.
My Favourites
1) Roots《根》
The Finger Players never fail to come up with something that I really enjoy and this was one of the best shows I caught this year. Loved the personal storytelling and great use of the chosen props by Oliver Chong.
2) 11•Kuo Pao Kun Devised, Again 再即兴郭宝崑
The directing and coordination for this was really amazing and I really regretted not being able to return on another night to take the 2nd route.
3) 宝岛一村 The Village
A re-staging following it’s earlier appearance at Huayi 2009, this 3-hour plus production was an enjoyable watch about community unity and family.
(hmm…seems like the Chinese plays are ruling my heart this year)
Best Arts Fest Catch
My best catch for this year was Lear Dreaming, which blended different cultural arts together perfectly.
Best Site-Specific Production
Have been experimenting with a few of such productions with, er…not so satisfactory results for some, like the disappointing Pandemic. But one that really had me craving for a second round was 11•Kuo Pao Kun Devised, Again 再即兴郭宝崑 which really baffled me on how 2 story trails were so seamlessly played out simultaneously.
The Longest Night
I really regretted catching Very Wagnerian Night when I could have caught some other SAF shows. Even though it did say “Wagner” which to me equates long duration (no offense to the composer, but not really my cup of tea), but still…What was I thinking?!
Best Tribute
Chong Tze Chien’s Rant & Rave was my fave out of the various tribute shows celebrating the 10th anniversary of Esplanade. Tze Chien never fails to deliver the unexpected.
Most Delectable
Enjoyed the refreshing taste of this year’s W!ld Rice pantomime, Hansel & Gretel along with the cravings it induced with all that kueh and cakes.
Most Appearances
We had Karen Tan last year (whom I think no one can beat yet), but this year we (or maybe just me) saw a lot more of Tan Shou Chen, even in a rare Mandarin outing in 《远角》Afar (which coincidentally had Karen Tan in it as well). My numbers may not be accurate though. Seems Seong Hui Xuan is also appearing much these days.
Special Mentions
1) Freud’s Last Session – an engaging debate, hypothetical as it was.
2) Swimming with Sharks – though dialogue-heavy, it kept audience rooted in its pace.
3) Tell Me When To Laugh and When To Cry 教我哭教我笑 – a challenging one-man show by Peter Sau.
Those that I regretted not watching
(mainly because tickets were gone by the time I got round to getting them)
1) The Book of the Living and Dying
2) 男男自语 (A Language of Their Own)
3) October
Jeremy’s Buttons Accolades 2012!
The Year That Was
Well, it’s that time of the year again.
Without further ado, let’s cut to the chase and head straight into this year’s accolades.
And as always, it’s pretty much tongue-in-cheek, so please do take it all with a mighty pinch of salt! =)
Most Enjoyable Productions:
1) “Romeo & Juliet” – Ivan Heng directs his first ever Shakespeare production and presents us with R&J like we’ve never seen it before. Never has a stage for such a big production been so bare, but the talented cast – not least of which includes leads Hansel Tan and Julie Wee – more than made up for it.
2) “男男自语 (A Language of Their Own)” – This dialogue-heavy Mandarin translation of Chay Yew’s play about a pair of lovers torn apart by HIV was lyrical, profound and heart-wrenching all at the same time. Forget about the comparisons between the Mandarin and English versions of the text – this was essentially an incredibly fluent meditation on the language of love.
3) “October” – There is something absolutely charming about watching a fresh cast of amateur actors giving their all with a sense of raw enthusiasm that is quite unlike most other theatre productions. Coupled with a solid script by Haresh Sharma, perhaps the only quibble was the fact that this was actually staged in the month of November.
4) “Roots” – Armed with just a pair of rakes and standing in a giant sandpit the entire time, Oliver Chong mesmerises audiences by taking them on an enchanting journey while attempting to trace his ancestral roots in a far-flung region of China. A performance worthy of at least a Best Actor nomination in next year’s Life Theatre awards. His ancestors would definitely have approved.
Least Enjoyable Productions:
1) “Utter” – Recollections are hazy, but I do recall having to sit laboriously through the first play (“Shadows in the Jungle”), which seemed to go on and on without a semblance of a dramatic arc. I don’t think there was a time when I had a stronger desire to bust my way out of the Play Den.
2) “National Broadway Company” – Saddled with the weight of being the centrepiece of the Esplanade’s 10th anniversary celebrations, this new musical written and directed by Ong Keng Sen fell surprisingly flat with a flimsy storyline attempting to hold it all in place, and its one-after-another-after-another style of presentation started to get tedious as early as midway through the first act. Few sparkling moments such as Benjamin Kheng’s inspired turn helped keep things fairly interesting, but NBC was hardly “A Chorus Line” by any stretch.
3) “The Perfection of 10” – An audacious attempt to mock and parody the conventions of theatre as well as challenge our notions of “perfection”. However, unfortunately there are only so many antics one can tolerate in a theatre before things start to get a bit grating. Sometimes you wonder if there really was a point to be made. Perhaps the tomatoes could have been put to better use in the hands of the audience.
The “Most Adventurous Staging Of A Musical” Award:
“Spring Awakening” and “Company” – A tie between Pangdemonium’s “Spring Awakening” and Dream Academy’s “Company”. Was marketing a dark and largely unknown rock musical featuring themes like suicide and incest the easier task, or was it easier to market a Sondheim musical (albeit his most well-known one)? Whatever it is, both Pangdemonium and Dream managed to position their respective shows remarkably well, and should be lauded for even having the guts to put these shows on in the first place.
The “Could Her Star Be Rising Any Faster?” and also the “No She Isn’t Going To…No She Can’t Be…Oh She Just Did!!!” Award:
Seong Hui Xuan – Landing plum roles in big productions such as “Spring Awakening”, “Twelfth Night”, “La Cage aux Folles”, “Company” and “Crazy Christmas” all in one calendar year is an impressive feat by any standards, but it is all the more astonishing when considering Seong Hui Xuan is barely two years out of Laselle. It seems the sky’s the limit for this precocious young talent. And oh, her bedroom scene in “Company” had us holding our collective breaths. (You know which scene I’m talking about.)
The “Was I Maid For This Role?” Award:
Siti Khalijah – Incredible talent, marvellous lady, and always a riot whenever she takes to the stage. Easily one of the most popular actresses on stage today. But isn’t it time someone else took the mantle of “Actress Most Likely To Be Cast As A Filipina Domestic Helper On Stage”? Just saying.
The “Best Use Of A Carpenters Song In A Play” Award:
“Singapore” – Hearing Siti Khalijah belt out the Carpenters’ “I Won’t Last A Day Without You” midway during the play was one of my favourite moments this year.
The “Wait…Is Anyone Else Getting Any Of This?” Award:
“godeatgod” and “The Impending Storm: The Silly Little Girl and the Funny Old Tree” – I can’t decide which play made me feel sillier – TNS’s “godeatgod” or TTP’s “The Impending Storm”. Half the time I kept looking around wondering to myself “Is anyone else getting any of this?” Definitely a humbling and mind-boggling experience all at the same time.
The “Balloon Contortionist’s Wet Dream” Award:
“Afar” – And by wet, we really mean wet. Apart from straining our necks to get a view of the English surtitles which were constantly being blocked by the swaying balloons, “Afar” was a utopia of large balloon sculptures anchored down by large blocks of ice, which eventually melted away leaving treacherous puddles that nearly caused a slip or two. Clever idea, but poorly executed on the night I was there. Was “Afar” all just a dream? Or maybe a game? All I can surmise is 那只是一场游戏一场梦.
The “Best Use Of Pandan Cake” Award:
“City Night Songs” and “Hansel & Gretel” – It’s not often you can say that the good ol’ pandan cake was used in a theatrical production, but this year featured two plays which made significant use of this most hallowed of confectioneries. The pandan cake was a notable device in “City Night Songs”, a play about seven friends negotiating their way through the treacherous landscape of urban city life, while in the W!ld Rice pantomime “Hansel & Gretel” the pandan cake was literally plucked off the Chef’s delectable hut and generously passed around the audience for them to take a bite.
Coming Soon: The Little Red Hen
Event: ‘The Little Red Hen’ by I Theatre
Run: 28 February to 16 March 2013
Venue: Drama Centre Theatre
Written & Directed by: Brian Seward
Music Composed & Arranged by: Bang Wenfu
A sell-out showing in 2007 and 2008, I Theatre is bringing back “The Little Red Hen” in 2013. This West End/Broadway family musical has been refreshed with all the fun of the original, but now with a new set and costumes, a more interactive style, and even more energy and colour. Meant to be both educational and fun, this old folk tale teaches a lesson in helpfulness where one might find no help when he/she is working hard on a project but has everyone wanting to enjoy the results after he/she successfully completes it!
_
THE STORY
One day Little Red Hen found some grains of wheat.
“Maybe I can make some bread from these,” she thought. “I wonder how?”
“I know, I will ask my friends; Mouse, Cat, and Goose!”
Then the Little Red Hen went to her three best friends and asked, “Will you help me?”
Find out exactly how helpful her friends Mouse, Cat, and Goose are; and what they learn too!
Little Red Hen learns how to grow and harvest corn; and discovers how bread is made.
On the way, her friends will learn some very valuable lessons about friendship.
_
Tickets on sale now at SISTIC, with early bird discount of 10% up to 24 January 2013.
_
Also, look out for I Theatre’s other productions in 2013:
The Enormous Turnip (ACE Festival 2013) – 21 May to 8 June 2013
The Magic Porridge Pot (ACE Festival 2013) – 20 May to 7 June 2013
Hey Little Mousedeer – 18 July to 7 August 2013
Grimm’s Fairy Tales – 1 to 17 November 2013
Sleeping Beauty
Event: “Sleeping Beauty” Presented by Singapore Dance Theatre
Venue: Esplanade Theatre
Run: 13th – 16th Dec 2012
Once Upon A Dream
One year shy of its 25th anniversary, the Singapore Dance Theatre brings to us a staging of one of the most beloved pieces in the classical ballet repertoire – the ever-popular “Sleeping Beauty” composed by none other than Pyotr Ilyich Tchaikovsky, who also happens to be one of my favourite composers of all time.
“Sleeping Beauty” was the second of Tchaikovsky’s three ballets which he composed, and was also immortalised thanks in no small part to the classic 1959 Walt Disney film of the same name, from which the song “Once Upon a Dream” originated from.
Tchaikovsky completed the score for the ballet in 1889, and it was first performed by the Imperial Ballet at the Mariinsky Theatre in St. Petersburg on 15th January 1890.
It was choreographed by Marius Petipa, then the chief ballet master of the Imperial Ballet, and the piece is divided into a Prologue and three Acts.
This particular presentation by the SDT clocked in at just over 3hrs inclusive of two intermissions, and this is about 1hr shy of the original length of the entire ballet, which lasts up to 4hrs with intermissions!
Rosa Park and Chen Peng played the roles of Princess Aurora and Prince Florimund respectively when I was there on opening night, and Park has to be specially commended for her mesmerising performance as the sprightly and vivacious princess.
The main sets designed by Tracy Grant Lord were both grand and elegant, giving a requisite sense of regality to the proceedings, while the costumes (also designed by Lord) were resplendent and quite simply a treat for the eyes.
The entire cast list is unbelievably long, and you wonder just how the company has managed to put together a production with such an extensive list of performers.
Things did get slightly draggy at points, especially in Act III when one couldn’t tell exactly how long the various sequences were going to last.
Nonetheless, barring a few minor stumbles, the performance as a whole still manages to delight and entertain both young and old in the audience, thanks also to the inspired sounds of the gifted Tchaikovsky and the age-old tale of true love awakening with a kiss.
Here’s looking forward to a stunning year ahead as the SDT celebrates its 25th year of existence next year!
Hansel & Gretel
Event: “Hansel & Gretel” by W!ld Rice
Venue: Drama Centre Theatre
Run: 22nd Nov – 15th Dec 2012
Book & Lyrics: Alfian Sa’at
Music Composer/Arranger: Elaine Chan
Director: Pam Oei
Music Director: Joel Nah
Cast: Dwayne Tan, Denise Tan, Sebastian Tan, Siti Khalijah, Dwayne Lau, Vernetta Lopez
“A Refreshing Treat”.
That’s what comes to my mind when I caught W!ld Rice’s latest year-end pantomime.
A break from the usual ‘princess-prince’ story of previous years, Hansel & Gretel brings a story of sibling unity that wins over ‘evil’. It’s nice to explore other types of fairytales once in a while. Besides the type of story, it was Pam Oei’s directorial debut, which brings another perspective as well. Honestly, I still miss Pam on stage, but it’s great to see her getting creative in other areas. This time around, I felt the musical repertoire was also refreshing in the sense that it was a tad different in its tunes and style, thanks to Elaine Chan who seems to have varied her style a little this year.
As per the localised pantomime tradition, political and social references were inevitable, although they were not too in-your-face. Not really that much on politics, they were more of the fads and current affairs of the year/season. Like the brief reference to the recent strike, the William & Kate Queenstown visit, Sun Ho, the gangnam style duel and “Death At First Light”. I find the subtlety inclusive, enabling all to enjoy the show even if you didn’t get it, thanks to the script and lyrics too. However, there were those things that only the adults would understand, but it’s a balance to make while the children enjoyed other aspects of the show. I was guessing that the story would go the way of “bad eyesight” and it did!
The whole cast did well in playing their roles, and I believe most enjoyed Siti Khalijah’s performance whether in her maid, minah or final conservative roles, bringing humour and a good song and dance to the show. It’s also been a while since I heard Sebastian given full rein to show off his vocal range and his Chef (and sergeant) was quite engaging and entertaining as well.
And what not to like when you had delectable treats with all the Bengawan Solo cakes and kueh giveaways which were “tossed” to the audience to eat! That generated a little excitement and interaction among the audience. It was fun watching the cast simply plucking the goodies from the candy house set to eat and pass to the audience. Well, I didn’t catch any, but it had me craving for 九层糕 (9-layer cake).
A lively and delightfully colourful show to catch and enjoy with friends and family.
Roots 《根》
Event: Roots 《根》 by The Finger Players (十指帮)
Run: 29 Nov – 2 Dec 2012
Venue: Drama Centre Black Box
Directed/Written/Performed/Set Designed by: Oliver Chong 钟达成
It’s surprising how a simple 千里寻根 story can keep one drawn. Was it the familiarity of the Cantonese dialect that struck a chord? Or the resonance it had in the writer with its proximity to something close to the heart? One thing’s for sure was that Oliver Chong’s direction, performance and storytelling skills played major roles in making the show what it was.
First greeted by a giant sand box, retro Chinese songs played on a vintage cassette player and rice cooking in a rice cooker, one wondered how the show would carry on. Maybe I read too much into each of these, but was the rice cooking a kind of “timer” (for it did kind of have that use in the start of the show) or a representation of the Chinese culture, since rice plays a big role in our diet. And the “sand” (which I heard was rice actually). Besides the practical use of panning out the journey and writing keywords, did it represent a “sands of time” notion? After all, it was a search that transcends a few generations, and something to be grasped. A kind of land and search ideal too, maybe. Well, I guess I’m probably thinking too much as all these are really open to interpretation. But it was a nice set up nonetheless, simple yet serving its purpose of preparing us for the journey that Oliver was bringing us along, although I believe some of us were surprised when Oliver began with eating the sand/rice from the sand box (you would have expected the cooked rice instead).
Performed in English, Mandarin and Cantonese, it was easy to follow and engaging as Oliver delivered the story with humour, reflection and authenticity. Together we followed him through the ups and downs of his search, the blessings and obstacles he faced. You felt indignant with him on the uncalled for and mean “你的“钟”是被阉了的“鍾”，你还来寻根做什么？” (or something like that – “Your “Chong” is the castrated “Chong”, so what’s the point of finding your roots?”). You felt happy that he had good help too that pointed him in the right direction. Then there was the family connection, though hazy, which was heartfelt. Some things might be better left unsaid, but something has happened on a deeper level. I personally felt that one of the most beautiful moments came when in the midst of drawing routes and enacting the story, he completed the word “家” (family) that spread across the whole sand box, timed perfectly. I think the planning of the use of the sand box was really well done, requiring good timing and direction/choreography.
Watching this, you come to realise that a journey like this requires a lot of faith to keep persevering. You also find that sometimes, if you’re meant to find something, you will, and things will align. If not, all the things you do won’t work. Even though at the end of the day, the outcome might not be what you expected nor understandable, and you may not find answers, but the journey enriches nonetheless. A journey of faith and fate really.
An excellent performance.
Buttons In The Bread 