Company
Event: Stephen Sondheim’s “Company” by Dream World Productions
Venue: Drama Centre Theatre
Run: 1st – 17th Nov 2012
Sunday In The Theatre With Bobby
Stagings of Stephen Sondheim musicals are pretty much a rare occurrence here in Singapore, although there seems to be a growing number of Sondheim fans who are besotted with the Broadway legend, and with good reason.
Dream Academy’s fascination with Sondheim is fairly well documented, and Selena Tan and company bring to us the second Sondheim production in as many years, following up from last year’s “Into The Woods”.
It was reported in the papers last year that “Into The Woods” had seen sluggish ticket sales, so kudos to Dream for bravely attempting to put on “Company” this year, which is directed by Hossan Leong.
Sondheim musicals are a notoriously tough sell, and even the original Broadway runs of a number of his acclaimed shows such as “Follies” and “Sunday in the Park with George” had suffered financial losses.
A large part of it has to do with the fact that Sondheim’s music is often regarded as “inaccessible”, and it does say quite a bit that apart from “Send in the Clowns”, very few of his songs have actually gone on to become mainstream hits, which is in contrast to the immense crossover appeal of the likes of Rodgers & Hammerstein, Lerner & Loewe and Lloyd Webber.
“Company” is sometimes considered the crown jewel in the Sondheim oeuvre (depending on who you ask), and it should be noted that it marked the start of the highly-successful collaboration between Sondheim and producer Harold Prince, which subsequently yielded other well-known musicals such as “Follies”, “A Little Night Music” and “Sweeney Todd”.
This concept musical first opened on Broadway in 1970, and it examines the issue of marriage as it pertains to a certain 35-year-old swinging single named Bobby, played by Malaysian actor Peter Ong.
Bobby’s friends, all of whom are either married or in a relationship, come together to throw him a surprise birthday party in his apartment, and throughout the musical, we see a series of unrelated scenes where the idiosyncratic relationships of each of the couples are put under the microscope, with Bobby often being the innocuous observer in all of it.
There is also the matter of Bobby’s three girlfriends April (Seong Hui Xuan), Marta (Mina Ellen Kaye) and Kathy (Glory Ngim), which makes the dilemma of whether to settle down or not all the more complicating.
The opening song (“Company”) is one of the more breathtaking opening sequences I’ve experienced yet in a musical, in terms of the complexity of vocal arrangements and the use of polyphony.
Just thinking about the amount of thought and work that went into the construction of Sondheim’s music does sometimes blow your mind.
But that is not to say that his lyric-writing abilities are in any way inferior to his compositional skills.
This is, after all, the same writer who first cut his teeth on Broadway writing lyrics for the great Leonard Bernstein on “West Side Story” and for Jule Styne on “Gypsy” before going on to write both his own lyrics and melodies.
Sondheim’s lyrics are some of the finest you’d find anywhere, and standout songs for me include the frightfully ironic “Sorry-Grateful” and the hauntingly poetic “Another Hundred People”, which was wonderfully delivered by Mina Ellen Kaye.
Part of Sondheim’s genius lay in his ability to write incredibly dramatic lyrics which allow the actors room to fully dramatise whatever they are singing, and there is no better example of this than in the song “Barcelona”, which is one of the most realistic, elegant and poignant postcoital scenes you’d ever come across, all neatly encapsulated in a song.
Peter Ong must be lauded for his spirited portrayal of the commitment-phobic Bobby, although his interpretation of the role seemed to lean more towards wide-eyed optimism rather than cautious cynicism.
The trio of Hui Xuan, Mina Ellen and Glory exhibited great chemistry, and gave as rousing a rendition of “You Could Drive A Person Crazy” as one could ever hope for.
Hui Xuan should be singled out for her enigmatic turn as the ditzy flight stewardess April, and was a joy to watch.
The choreography by George Chan was slick, and fit in beautifully with the musical’s urban-chic setting, while vocally the cast were competent, although Tan Kheng Hua – great actress that she is – seemed a bit strained while delivering the bossa nova-infused “The Ladies Who Lunch”.
Kudos to the band for deftly pulling off a Sondheim score, which isn’t always the easiest of scores to pull off, what with all its difficult harmonies and tricky rhythms.
Special mention goes to pianist Joanne Ho, who played on the Steinway placed on stage in full view of the audience, whereas the rest of the band had the luxury of being nestled behind a screen at the back of the stage.
If there was a highlight of the largely plot-less musical, it would have been Petrina Kow’s stunning rendition of the character Amy’s “Getting Married Today”, which probably ranks as one of the most difficult songs in musical theatre to pull off thanks to the speed of its rapid-fire delivery that would even put most rap songs to shame.
Petrina not only delivered a word-perfect rendition, but also did it with remarkable clarity and impeccable dynamic shadings that it was hard not to view the moment as the definite high point of the show.
It was apparent that attempts were made by the creative team to try and localise the show as much as possible with the inclusion of many familiar local references.
However, it did get slightly confusing at times, especially when the inherent American references like “niece from Ohio” or “meat-packing company in Chicago” would jostle with the distinctly Singaporean references, making you wonder exactly where the musical was supposed to be set in.
There is no doubt that one should go catch Dream’s staging of “Company”, if not for the wonderful cast, then at least to witness one of the landmark Broadway shows.
The audience attendance on the night that I was there was highly encouraging, and it does seem like Dream is doing something right.
Perhaps they were spot-on in the way they positioned this show – by playing up the mid-30’s singlehood versus marriage dilemma which seems oh-so relevant to many of us living in Singapore today.
And to build on the point, perhaps we could also venture to say that Dream’s greatest triumph with this production is in contextualising a Sondheim musical for a local audience, and opening our eyes and ears to the beauty and depth to what has usually been considered an esoteric and inaccessible piece of musical theatre.
Will there be more Sondheim musicals to come?
Who knows.
But if we’re lucky, we might even get to see a certain demon barber work his magic, or even an ancient Roman farce in the near future.
One can only dream.
Ashputtel: The Story of Cinderella
Event: Ashputtel : The Story of Cinderella
Run: 25 Oct – 17 Nov 2012
Venue: Alliance Francaise Theatre
Directed by: Christina Sergeant
Written by: Dwayne Lau
Score by: Julian Wong
Produced by: Brian Seward
Cast: Matilda Chua, Edward Choy, Julie Wee, Audrey Luo, Serena Ho, Tan Shou Chen, Adelynn Tan, Sara Wee
Many of us are familiar with the story of Cinderella, especially Perrault’s version, as used by Disney. However, there are many variations, and I Theatre has taken the Grimm brothers’ version, Ashputtel, as the basis for their latest musical venture.
We are greeted in an opening scene with an umbrella dance as the song “Always Be Good” was introduced by Ashputtel (Matilda Chua) recounting her late mother’s instructions to be good. A dove would always be nearby, like her mother watching over her, as was evident throughout the show. The use of the umbrellas was innovative, as the extending and retracting gave some formation like flowers blooming and closing. However, the sounds in that action were quite distinct (maybe some oiling needed?) and was slightly out of place in the show as it was not used again. Not a big issue. I felt the opening scene was somewhat tinged on a heavier note for a children’s production, of which I would have preferred it to be along the lines of maybe being slightly sad (as she misses her mother) but yet hopeful. It’s could be just my preference. However, this tone was soon dispelled with the colourful and animated performance by the cast as the story unfolded.
The show though keeping to a more or less traditional setting was injected with an occasional modern and Asian reference. Colours were used to differentiate the characters, like how Ashputtel was donned in white (and gold) to represent good.
A notable performance was put up by Julie Wee who was convincing as the evil stepmother, making one feel indignant by the way Cinderella was treated. Tan Shou Chen played multiple roles as father, servant and narrator, which helped carry the story through. Shou Chen’s been quite active this year as I’ve seen him in quite a few productions. One of the fun parts of the show was the interaction between audience and cast when the Prince (Edward Choy) came to find someone in the audience to try on the shoe. Good that the people were game. Another fun part was the flying of “bloody” “toe” and “heel” into the audience when the evil stepsisters “cut” them off to try to fit in the shoe. It’s kind of gross but well, all in theatrical fun. I think the music followed a good flow in the story too.
It’s always a joy to watch children’s theatre. That creation of magic and wonder on stage plays such an important part in exposing children to theatre in a simple but effective way, and also imparting some wise morale of life. Looking forward to the next I Theatre production.
Open Call: TheatreTalkback!
Event: OPEN CALL: “TheatreTalkback!” presented by Goodman Arts Centre
Period: 22nd Oct – 4th Nov 2012
Open Call For Script Submissions
The Goodman Arts Centre will be hosting a playwriting open dialogue session called “TheatreTalkback!” on 25th Nov, and the session aims to provide budding artists feedback from the general public and from an acclaimed line-up of panelists on their piece of work that is waiting to see its day on the stage.
And starting from 22nd Oct, an Open Call was held to invite interested playwrights to submit their scripts.
Submissions are to be sent to gac@toph.com.sg by 4th Nov, and the five chosen playwrights will be revealed on 16th Nov through the GAC website (here) and through its Facebook page (here).
Full details of the event can be found (here).
Should you have any further queries, please contact Ysabel at ysabel_wong@toph.com.sg or call her at 6342 5795.
Coming Soon: Ashputtel
Event: Ashputtel – The Story of Cinderella
Run: 25 Oct – 17 Nov 2012
Venue: Alliance Francaise Theatre
Directed by: Christina Sergeant
Written by: Dwayne Lau
I Theatre returns this week with a brand new musical Ashputtel, following their recent staging of Arabian Nights in September.
The age-old classic tale of Cinderella gets a makeover with well-seasoned director Christina Sergeant and actor-turned playwright Dwayne Lau, transforming the familiar rags-to-riches story into a musical adventure of song, drama, comedy, and not the least, shoes. See the story of Ashputtel unfold, of a girl who sleeps in the ashes by the fire, mistreated by her stepmother and two wicked stepsisters, and of her encounter with a Prince and a magical tree. Share her adventures as she finally gets what her goodness deserves.
This play is built for sensibilities of all ages while highlighting key lessons on generosity, perseverance and jealousy.
Tickets can be bought at www.sistic.com.sg and retails at $28 for a standard ticket (discounts are available).
Coming Soon: Company
Event: Stephen Sondheim’s “Company” by Dream World Productions
Venue: Drama Centre Theatre
Run: 1st – 11th Nov 2012
Witness The Magic Of Sondheim
Sondheim fans, rejoice!
One of the most well-known and beloved musicals of Stephen Sondheim – “Company” – opens next week at the Drama Centre Theatre.
“Company” was the first musical from the successful collaboration between Sondheim and producer Harold Prince, which also yielded other well-known musicals such as “Follies”, “A Little Night Music” and “Sweeney Todd”.
It is a concept musical composed of short vignettes examining the issues of marriage as it pertains to urban life, with the lead character “Bobby” representing the linking device.
The musical has won seven Tony Awards, including Best Musical, Best Original Music and Best Original Lyrics in 1971.
If there was one musical which would open your eyes to the world of Sondheim musicals, then “Company” would definitely be it.
This Dream World Productions staging is directed by Hossan Leong and choreographed by George Chan, while the lead role of Bobby is played by Peter Ong.
The cast also includes the likes of Tan Kheng Hua, Karen Tan, Brendon Fernandez, Petrina Kow, Candice de Rozario, Ivan Choong, Matt Grey, Tim Garner, Rebecca Spykerman, Juwanda Hassim, Mina Kaye, Glory Ngim, and Seong Hui Xuan.
Don’t miss this opportunity to catch one of the most iconic and monumental shows in Broadway history!
Ticket Purchase: SISTIC Link (here)
Facebook Page: Dream Academy Productions
Casting Back
Event: Casting Back (as part of Esplanade’s “Dedicated to You” festival)
Venue: Esplanade Theatre Studio
Run: 13 Oct 2012, 3pm and 8 pm
Written by: Robin Loon
Directed by: Casey Lim
Cast: Nora Samosir and Christina Sergeant
Memories are like journeys. A journey through time, a journey through space, a journey with friends.
Nora and Christina brings us on a journey through their 30 years of Singapore theatre history, with anecdotes and memories of people and times; of rehearsals, performances and the people they’ve worked with. Through their reminisces like two old friends chatting, we were engaged in the accounts as well, of venues (some already gone and some I never knew), of people dearly missed, of memorable roles played, of reviews good and bad. It was an intimate kind of sharing, some funny and some heartfelt, and though not all the contexts were familiar to me, I liked the way it helped us remember people and places we might have forgotten, or create memories that we now share. I thought it was great catching a brief glimpse of working with people like William Teo, Tay Bin Wee and even Ong Keng Sen, and why people who do theatre, do theatre. Even though it seemed like off-hand sharing, there was still a kind of structure to what was being shared. Given their rapport and storytelling skills, Nora and Christina easily kept us engaged during the performance.
Besides the stories of their personal experiences, another storyline was interspersed in between segments as the actresses “sailed” through the ‘Land That Rained Fire’, ‘Land of Forgotting’, ‘Land of Faulty Light Cues’ and the ‘Land of Shipwrecks’. Personally, I felt it was symbolic of the struggles, trials (and errors) in the journey through Singapore theatre. The ‘Land of Forgotting’ in particular seemed in quiet reference to certain political barriers. The story seemed also to represent an enduring cycle of the need to persevere on, even when it seemed they have come back to point zero. Well, at least that was my interpretation.
The play was a nice tribute to who and what had shaped Singapore theatre. It was asked if it was important to remember or share these memories, and if people cared. Well, I believe it is, for these are little things that may not be recorded anywhere, but adds that other dimension of history which would otherwise be forgotten in times to come.
“Memories are such strange friends. We relish them thinking they will put ground under our feet. Treasure them, they become treacherous; Let go, and they surface with their many selves, all mashed up.” – Casey Lim, the director
“Casting Back” and “Rant & Rave”
Event: “Casting Back” (as part of the Esplanade’s 10th anniversary celebrations)
Venue: Esplanade Theatre Studio
Date: 13th Oct 2012
Event: “Rant & Rave” (as part of the Esplanade’s 10th anniversary celebrations)
Venue: Esplanade Theatre Studio
Date: 14th Oct 2012
Rolling Back The Years
Truth be told, it is hard to examine Robin Loon and Casey Lim’s “Casting Back” without also considering Chong Tze Chien’s “Rant & Rave” in the same breath, much like how one simply cannot assess the musical landscape of the 60’s without discussing both the Beatles and the Stones.
The much-anticipated duo of plays both played one day after another over the weekend as part of the Esplanade’s 10th anniversary celebrations entitled “Dedicated to You”, and while there was the inevitable overlap of material since both were local theatre retrospectives of sorts, there were also many marked differences between the two works.
“Casting Back”, written by Robin and directed by Casey, stars both Nora Samosir and Christina Sergeant playing themselves, and as you may have heard by now, despite their many years of experience in local theatre, this was actually the first time both actors were involved in the same production.
The opening musical montage led off with Starship’s iconic “We Built This City”, which immediately drew guffaws from the audience, and what followed was a barrage of songs like “Like A Virgin”, “Papa Don’t Preach”, “Straight Up”, “Lost in Emotion”, “West End Girls” and “Everybody Wants to Rule the World”, which left you with absolutely no doubt as to which era you were currently being transported back to.
I thought it was a brilliant setup.
With the crowd sufficiently warmed up, Nora and Christina proceeded to casually stroll on stage and struck an instant rapport with the audience.
Despite their pronounced disclaimer at the start of the show that this was not going to be an expose, nor a retrospective, nor a history lesson, nor a lecture performance, “Casting Back” turned out to be a bit of everything really.
The show essentially felt like an intimate conversation over coffee between two old friends as they compare notes and recall fond memories of their many grinding but fulfilling years in the local theatre scene.
There was this pervading sense of nostalgia throughout the show, giving the audience a sense of how far we’ve come as a theatre scene, through the recollection of past productions the actors were involved in, such as “The Moon is Less Bright” (1990), “The Tragedy of MacBeth” (1993), and “Agnes of God” (1994), as well as the reminiscing of old theatre venues such as the World Trade Centre Auditorium, the Cultural Centre, the Victoria Theatre, and the National Theatre.
The show was also peppered with wonderful anecdotes, and while the tête-à-tête between the two ladies was often delightful and entertaining, one did get the sense that it was mainly the theatre practitioners and old hands in the audience (I am viciously fighting the urge to use the term “veterans” here) who found the material most engaging and relatable.
There was more than one occasion where the odd audience member would instinctively let out an audible “Yes!” at the mention of a familiar old theatre reference, while at other times a line like “You never forget a fight with OKS” would draw peals of all-knowing laughter from those who could only have had experienced it first-hand.
Ultimately, it was the nostalgic feel-good factor, coupled with the enigmatic presence and sparkling delivery of both Nora and Christina, which held the show together and made it such an enjoyable journey.
And while “Casting Back” revelled in its old-friends-reminiscing-over-coffee vibe, its sibling show “Rant & Rave” also took you on a walk down theatre memory lane, albeit through a different approach.
“Rant & Rave” is Chong Tze Chien’s latest creation, and stars the equally capable and enigmatic duo of Janice Koh and Siti Khalijah.
Where the two shows seemed eerily similar is right at the start, where “Rant & Rave” too employed the use of a musical montage, although it seemed to me like the songs were predominantly 90’s whereas “Casting Back” used songs mostly from the 80’s.
There was “Set Adrift on a Memory Bliss”, “Smooth Criminal”, “Smells Like Teen Spirit”, “Go West”, “To Be With You”, “Black or White”, Change the World”, and “U Can’t Touch This”, just to name a few.
I might be reading too much into the whole 80’s and 90’s thing, but I thought I’d just point it out anyway.
Mayo Martin mentioned that he had initially thought this show to be a roast with the spotlight on theatre reviewers, and I had felt the exact same way.
The publicity materials had given me the impression that this was going to be a show which turns the tables on theatre reviewers throughout Singapore’s theatre history, and while it definitely did cover aspects of theatre criticism in Singapore, “Rant & Rave” was far greater in scope than just that.
“Rant & Rave” was like watching a one-hour TV documentary chronicling the history of Singapore’s theatre scene, with the show being presented in three broad segments: Art & Identity, Art & The State, and Art & Media.
It featured Janice and Siti having to literally go at it in rapid-fire mode, rattling off quote after quote culled from Tze Chien and Tim Wan’s (the show’s research assistant) extensive research, while having to don one prominent persona after another.
At times it almost resembled one of those “comedian does 100 impersonations in under 60 seconds” kind of video, where the donning of a white cap immediately turned one into BG George Yeo, while the draping of a loose shirt instantly turned another into Kuo Pao Kun.
(If you must know, Siti’s impersonation of TNS’s Alvin Tan drew the wildest reception.)
The personalities portrayed ran the gamut, from Ong Keng Sen to T. Sasitharan to Haresh Sharma to Adeline Chia to Dr Koh Tai Ann to Clarissa Oon to Tan Tarn How to Lim Kay Tong.
Even at its breakneck pace, it was never going to be possible for Tze Chien to cover everything in this 60-minute show.
However, I liked the way he went about attempting to cover as much ground as humanly possible, starting from the search for the Singapore identity in the first segment, to the ever-pertinent struggle to reconcile the differences between artists and the State in the second, to the final segment which chronicled the changing media landscape and the proliferation of blogs and reviewers.
The only issue I had with the presentation was that the quotes flashed on the screen were always competing for the audience’s attention while the actors were reading out a completely different quote.
It made things rather distracting throughout the play and it was oftentimes difficult to keep track of what was both being read out by the actors and flashed up on screen.
I’m not too sure if a play has ever attempted to tell the story of Singapore theatre quite like “Rant & Rave” did, but judging by the audience feedback at the post-show dialogue, it seems like many had recognised the vast educational and cultural value in “Rant & Rave” and implored Tze Chien to look into expanding the scope of the play so that it can educate and inform our younger generation of our rich theatre legacy.
If “Casting Back” was the theatre practitioner’s casual walk down memory lane, “Rant & Rave” was the more formal and academic approach to revisiting our theatrical past.
The first took the intimate and more personal perspective, especially from the practitioner’s point of view, while the second approached the subject from a far more macro viewpoint.
Witnessing either production would have given you a good sense of how far we’ve come, but witnessing both gave you the fuller picture.
But ultimately, regardless of which production you had caught or preferred, what we can safely conclude is that we’ve come a ways since the early days of Singapore theatre, and where we are today would not have been made possible if not for the works of those who’ve come before.
And in our constant preoccupation with advancement in this modern day and age, if anything, the Esplanade’s “Dedicated to You” series has given us the moment to take a precious step back to reflect on the past, and to appreciate what and who it took to get us here.
“Though I know I’ll never lose affection for people and things that went before,
I know I’ll often stop and think about them, in my life I love you more.”
– from “In My Life” by The Beatles
Coming Soon: National Broadway Company
Event: National Broadway Company (as part of the Esplanade’s 10th anniversary celebrations)
Venue: Esplanade Theatre
Run: 12th – 14th Oct 2012
You really won’t want to miss out on this one.
“National Broadway Company” opens this Friday at the Esplanade Theatre as a main highlight of the Esplanade’s 10th anniversary celebrations, and it’s probably going to be one of the bigger original local musicals you’ll come across this year.
It’s conceived, written and directed by Cultural Medallion winner Ong Keng Sen, musically directed by Iskandar Ismail, choreographed by Zaini Mohd Tahir, and features a cast and crew of numerous well-known theatre practitioners such as Denise Tan, Dwayne Tan, Chua Enlai, Karen Tan, Lim Yu Beng, Jonathan Lum, Leena Salim, Gani Abdul Karim, Erwin Shah Ismail, Benjamin Kheng, Julia Abueva and so on.
Based on specially-conducted interviews with Dick Lee, Pamela Oei, Michael Chiang, Jacintha Abisheganaden, Ivan Heng, Koh Chieng Mun, Najip Ali, Eleanor Wong and Hossan Leong, this production features characters inspired by these artists’ personal stories and recollections, performed by the cast of both young emerging talents as well as established artists.
Songs featured in the show were composed by Dick Lee, Ken Low and Mark Chan, and include numbers from “Beauty World” (1988), “Fried Rice Paradise” (1991), “Mortal Sins” (1995), “Chang and Eng” (1997), “Haunted” (1999), and “Forbidden City” (2002).
“National Broadway Company” reflects on the search for identity that was prevalent in the first local musicals and gives us a glimpse into the future.
Look out also for a brand new song by Dick Lee!
Don’t miss out on this opportunity to witness a monumental piece of local theatre.
Get your tickets quickly because the show starts this Friday!
Duration: 2hr 50mins (including 20min intermission)
Ticket Purchase: SISTIC Link (here)
Website: www.celebratinglife.com.sg/2012/national-broadway-company
Facebook Page: Dedicated to You
Video Trailer: Link (here)
Casting Back : a preview
Event: Casting Back (as part of Esplanade’s “Dedicated to You” festival)
Venue: Esplanade Theatre Studio
Run: 13 Oct 2012, 3pm and 8 pm
Written by: Robin Loon
Directed by: Casey Lim
Cast: Nora Samosir and Christina Sergeant
As part of Esplanade’s 10th Anniversary Weekend festival, we are presented with Casting Back, a journey into theatre history through the memories of ‘veterans’, Nora Samosir and Christina Sergeant.
Surprisingly, though in the scene for close to 30 years, this is the first time both are performing together. Be treated to an intimate sharing of behind-the-scenes anecdotes that will be funny, emotional and nostalgic; of the people they’ve worked with, the shows they’ve done, and memories of when and where their theatre life in Singapore has brought them. Look forward also, to a story interweaved between the memories.
A quick chat with director Casey Lim revealed that as part of the tribute to theatre-making, a combination of media, sound, lights and actors will be placed on a blank stage, putting all factors that make theatre into the limelight, allowing the audience to experience all faculties of theatre that goes into putting up a production.
So take a trip through Singapore theatre history at Casting Back. There are only 2 showings, which are on 13 October. Tickets are at $10 and can be purchased via SISTIC.
Occupation
Event: ‘Occupation’ by Checkpoint Theatre
Run: 27 to 30 Sep 2012
Venue: Gallery Theatre, National Museum of Singapore
Written by: Huzir Sulaiman
Directed by: Claire Wong
Performed by: Jo Kukathas
Memories of World War II: The Other Side of Things.
If you like oral history, you might like Occupation, which is a play that tells you the impressions of WWII through the eyes of Mrs Siraj, who spent most of The Occupation sequestered in her large family home. Based on the true story of the writer’s grandmother, the story told was different from the usual woes and pains of war that we hear, but with a rather optimistic perspective, of romance, hope and community support. It wasn’t that she didn’t remember the scary or sad parts, but Mrs Suraj tried to look past that and dealt with it in her optimistic manner. This was in contrast to the interviewer, Sarah’s own view and desire to hear the angst, as she begins to re-evaluate her goals in life.
Jo Kukathas was marvelous as both characters, easily playing both roles using voice techniques, animated facial expressions and gestures. The whole play goes down to basics, boiling down to the platform of just the script and actor. It was good storytelling on the part of Jo, but there could have been more climatic points to kind of keep the audience focused and engaged to the script. I admit I lost focus a couple of times even though I was concentrating on what was spoken. The story of Mrs Suraj was well told, but maybe the parts with Sarah could be beefed up to create some ‘ups’ in the course of the play and also enrich her character. On a side note, it was strange that I felt that certain parts of Sarah’s monologue was a little Shakespearean in its delivery.
Maybe a point to note was that not all stories are sad or dramatic during the war, but there can be hope and (almost) normal lives at the same time. Interestingly, subtle reference was made to what are exposed to the public of the oral histories. How is what is released or not used to shape our history, and who determines what we should hear? Lastly, I am curious on the use of the chairs. Were they meant to supplement the storytelling as props? It could be just me, but I couldn’t really tell the relation to the story of the movement of chairs around.
Occupation talks not just about WWII, but attempts to relate it with the everyday life of sustenance by our own job occupation, just as the fight for sustenance during The Occupation.
Buttons In The Bread 