Lao Jiu: The Musical 《老九》
Event: “Lao Jiu: The Musical 《老九》音乐剧” (as part of the “Kuo Pao Kun Festival 2012”)
Venue: Drama Centre Theatre
Run: 12th – 29th July 2012
Symphony of the Ninth
“Lao Jiu: The Musical” kicks things off with the first of what seems to be a delightful flurry of musicals these two months (think “Annie”, “La Cage aux Folles”, and “Army Daze”).
“Lao Jiu” the play – first staged in 1990 – remains one of Kuo Pao Kun’s most popular works, and was first staged as a musical in 2005 by The Theatre Practice.
Having never seen “Lao Jiu” in any of its many iterations before, I entered the Drama Centre with high hopes and expectations, as my companion would attest.
According to director Kuo Jian Hong, this 2012 version of the musical is an attempt to improve upon the 2005 one, to make it better and more complete.
It features a stronger artistic team and a more mature and accomplished cast.
“Lao Jiu: The Musical” is a full length musical at more than two and a half hours in length, with an impressive list of fifteen musical numbers in the first act and ten in the second.
Let it be said that composer Eric Ng and lyricist Xiao Han are artists of the the highest calibre.
Eric Ng, who also composed for the popular soundtrack to the movie “881”, has the uncanny ability to churn out catchy pop melodies which immediately grab the listener’s ear.
The love ballad “Two of Us” (两人世界), serving as the centrepiece which encapsulated the feelings between Lao Jiu and Junior Horse, was memorable enough to leave audience members humming it at the intermission.
Xiao Han’s lyrics are truly a joy to behold, and I was utterly fascinated by her ability to make her Chinese lyrics rhyme with alarming discipline.
Certainly no mean feat, as any lyricist would attest.
But sadly, apart from delivering a sparkling score, “Lao Jiu: The Musical” felt like a letdown in other respects.
The musical was interesting in the sense that it called for a huge cast – sixteen actors alone just to play the eight sisters and their spouses, not to mention the parents, Shi Fu, Senior Horse and Junior Horse – and thus, the proceedings on stage were often lively and full of colour.
However, the somewhat contrived use of the large cast could barely mask the fact that the plot was essentially reed thin, especially in the first act, where it felt like the fifteen musical numbers were there to pad a storyline which could probably have been told in less than half the duration.
Yes, the themes of the musical are apparent enough – to follow your heart and pursue your dreams, the conflict between familial duty and personal interests, doing what you truly believe in even if others might dissuade you from it, etc.
But the entire plot just felt a bit too bare and static for a full length musical, and even the wonderful songs were unable to do much in furthering the plot, even if they did manage to reveal character.
The book didn’t seem to bring out the full extent of Lao Jiu’s obsession with puppetry, and the stakes in the story didn’t seem high enough to make the viewer fully invested.
Also, the “is it or is it not” love affair between Lao Jiu and Junior Horse felt clumsily put together, and even more disappointingly, did not offer much in terms of development and resolution.
Lead actor Sugie did a fine job with his portrayal of Lao Jiu, crisp tenor voice and all, although one would have hoped to have seen a bit more of the conflict being portrayed (between his obligation toward his studies versus his undying passion for puppetry), so that we could have perhaps empathised more with the struggles which he faced.
Popular singer-songwriter Inch Chua, who played Junior Horse, had no problems rendering her numbers on a musical stage, although her character portrayal could perhaps have benefitted from a more nuanced delievery.
Marcus Chin, who played the role of the long-suffering head of the household, put in a remarkable and convincing performance and was to me the most outstanding performer of the show.
In all, even though “Lao Jiu: The Musical” was packed with great songs, wonderful lyrics and well brought out themes, I left the theatre with a palpable sense of disappointment because it felt to me like the book was found wanting, and it left one with a rather unsatisfying feeling inside.
Let’s hope the other three upcoming musicals will be a bit better.
Utter
Event: Utter: A Double Bill 《优剧》: 双剧目
Venue: Play Den, The Arts House
Run: 5 – 7 July 2012
Director/导演: Nelson Chia (谢燊杰)
Cast/演员: Lez Ann Chong (张丽恩), Koh Wan Ching (许婉婧), Johnny Ng (黄家强), Rei Poh (傅正龙), Yang Kai Jie (杨凯杰)
As a pre-festival event to the Singapore Writers Festival (SWF), The Arts House presented two adaptations of local literati, Yeng Pway Ngon and O Thiam Chin’s works last weekend. I’ve read neither of the two writers’ works before this.
Given the teaser of a cafe setting with encounters between the creator of the stories and their characters, I was expecting something surreal or an insight into the creative mind of the writers. If the intention of such a setting was the same as my expectations, I’m afraid it wasn’t so. In both instances, they did start out with the writer in cafe, but I felt it wasn’t developed. Will come to that.
In the first play 《影子森林》(Shadows in the Jungle), adapted from 《画室》(“The Studio”) by 英培安 (Yeng Pway Ngon), a young man Jian Xiong appears in the cafe and we are invited into his story of when he awoke to find a bearded man with him, but who eventually became his companion in the jungle as they lived out the revolution, in their own world. I have no doubt that the original text is rich with context and spirit, but I couldn’t quite grasp the main message of the whole story in this adaptation. I felt that it might be better just to read the book.I understand it would be difficult to tell the full story with a 1-hour excerpt, but though you catch a glimpse, it wasn’t coming out as strong as I would have liked it. Was it a breaking out? A questioning of beliefs? The pace felt a little heavy/slow.
Also, I felt that what started out as a promising cafe setting became somewhat forgotten along the way as that aspect wasn’t developed with a stronger integration except for the occasional “back to the writing table” moments. Technically, I felt the story would have been told with or without the inclusion of that. I think it would have been great if there was more of an exchange or interplay between the writer’s projection and his characters. Maybe it wasn’t the intention to be such as opposed to my expectations.
However, I think what’s good was that it kind of piqued an interest to read the original text, as it did for my friend, which I’m sure was one of the intentions.
In the second play The Yellow Elephant and The Girl Who Swallowed the Sun, adapted from O Thiam Chin’s short stories, the stories were more abstract in nature with a yellow elephant in a living room and the swallowing of stars and sun. The writer’s involvement was at its minimum, with no speech and only the passing of a note. Although I don’t think I got the metaphoric references that well, I appreciated the attempts to mash up the 2 short stories by using overlapping references like yellow and sun, culminating in a closing that unified the characters from both stories. As abstract as this was, I believe it tells of the coming to terms with oneself.
~~~~~
In both plays, I think SWF’s effort to introduce more local literature outside of the main event in November is good. Though just excerpts, we get a peek into the books. Adaptations allow the works to be introduced to different masses, and I do hope to see more of these coming.
Coming Soon: La Cage aux Folles
Event: “La Cage aux Folles” by W!ld Rice
Venue: Esplanade Theatre
Run: 20th July – 4th Aug 2012
One of the year’s most highly-anticipated musicals opens at the Esplanade Theatre in less than two weeks’ time, and it is none other than W!ld Rice’s staging of the classic Broadway musical “La Cage au Folles”.
“La Cage” the musical, winner of 6 Tony awards in 1983 (including Best Musical, Best Score and Best Book), is based on the 1973 French play of the same name by Jean Poiret, and features music and lyrics by famed Broadway songwriter Jerry Herman, who also famously composed the scores to “Hello, Dolly!” and “Mame” as well.
Originally set in the French town of Saint Tropez, in this upcoming production W!ld Rice adapts the musical to a local setting…Tanjong Pagar to be exact.
Glen Goei directs, while Elaine Chan is musical director.
The lead roles of “George” and “Albin” are played by Malaysia’s Tony Eusoff and our very own Ivan Heng respectively, while the cast also features the likes of Hossan Leong, Karen Tan, Darius Tan, Judee Tan, Andrew Lua and Brendon Fernandez, amongst others.
On top of the remarkable score, audiences can also look forward to an impressive chorus line of glitzy and glamourous dancers, also known as the “Cagelles”.
“La Cage” promises to be a most fabulous night out at the theatre, and we absolutely can’t wait to be there.
So go get your best outfit, and put a little more mascara on, and head on down to the Esplanade Theatre to catch W!ld Rice’s most fabulous Broadway musical staging yet!
Tickets can be purchased from SISTIC (here).
BOOM by Sight Lines
Event: “BOOM” by Sight Lines Productions
Venue: DBS Arts Centre
Run: 29th June – 8th July 2012
Written by: Jean Tay
Directed by: Derrick Chew
Cast: Andrew Lua, Fanny Kee, Erwin Shah Ismail, Vincent Tee, Amanda Tee, Benjamin Kheng, Engie Ho
A massive tombstone, fused with an image of cold metallic (industrial) development.
This was what greeted us when we stepped into the theatre. An impressive set designed by Wong Chee Wai, I think it was pretty ingenuous and apt the way these two representations were used as the backdrop for the stage. And not just that. At first glance, it was just a grey wall, but with the translucent effect when the lights came on behind the screen-like centerpiece, you find a stage behind a stage. Plus the ever-changing carousel-style set/props changes that were rolled out between scenes garnered a few “wow”s from the audience. This whole set up, as explained by Derrick, offered a minimalistic yet flexible bare stage where we could watch it morph, almost organically, like a reflection of how Singapore is ever changing with constant developments. Quite different from the 2008 staging which took a more naturalistic approach. Good job there.
And with this, we are led into a play of transit between the old and new. Of holding on and letting go. Of responsibilities and filial piety. And how we are often drowned out by the pace of life and how society moves on, the development that goes around us. Eventually, the minority or forgotten voices go unheard, and get silenced forever, like that of the cremated corpse. The character, Jeremiah, represented the voice for the voiceless, though it would seem somewhat fruitless with his monologues. How do you balance between what you’re tasked to do (reality) and what you should do (ideals)?
I believe I appreciated the script better this round because of the way it was presented and with the aid of the cast, with Fanny reprising her role as the mother. The chemistry among them brought us in a natural course of laughter and tears, as we related to the relationships, struggles and realities of life and progress. I felt I enjoyed this run more than before. As the ashes fell at the end, I wondered, was it meant to be hopeful? Though I felt it was tragic that husband and wife never reunited in life, but only in dreams. Like snow, the past and dreams fade away, melting away as it lands.
Just 5 showings left this weekend (Fri 8pm; Sat & Sun 3pm and 8pm), though Friday’s already sold out. So grab your tickets now for the 7 and 8 July shows from www.sistic.com.sg if you haven’t already watched it.
BOOM
Event: “BOOM” by Sight Lines Productions
Venue: DBS Arts Centre
Run: 29th June – 8th July 2012
Home, Where I Know I Must Be
It’s been barely two months since their debut production “Trainstopping”, but Sight Lines Productions picks up exactly where it left off with its sophomore effort “BOOM”.
“BOOM”, a play written by Jean Tay, was first staged by the SRT in 2008 and directed by Tracie Pang.
It is also currently an “O” and “N” level literature text for secondary school, which explains the large numbers of students in attendance for this show.
Director Derrick Chew has come up with a number of nifty touches in this latest staging, and Sight Lines is fast-becoming known for its highly creative and original ideas.
Firstly, the programmes are a joy to behold in the way they resemble a newspaper rather than a regular theatre programme booklet, not only in appearance but in the way the content is cleverly presented as well.
The set design by Wong Chee Wai, which resembled a giant tombstone albeit with large reflective panels in the centre, was ingenious in the way it allowed for the various components to be used for various purposes, at times being the living room of the old apartment, at times being the apartment’s backyard, and at times being the office of the Ministry of Land via the upper level.
Oh, and the way the props seemed to automatically slide effortlessly on and off the stage, the way they do in a big-budget Broadway musical, was highly impressive too.
The production is held firmly together by Jean Tay’s remarkable script, which depicts two parallel stories – one of Tan Tiong Boon’s (Andrew Lua) relationship with his mother Mdm Ong (Fanny Kee) and how she still clings stubbornly to the old apartment despite his constant pleadings to sell it via en-bloc, and the other of how civil servant Jeremiah Dhillon (Erwin Shah Ismail) attempts to persuade a corpse (Vincent Tee) to move out of its current grave site.
The script was eloquent and managed to tug at a few heartstrings in me, and I was moved at a number of moments in the play, such as when it was revealed that the reason why Mdm Ong refused to move was because deep down she had always been waiting for her husband to come back home.
It also clearly brings out the ever-pertinent theme of the cost of urban renewal and the intangible losses we are made to bear as a result of it.
Fanny Kee, reprising the same role from 2008, was undoubtedly the outstanding performer of the show in the way she managed to bring out the obstinance in the character, yet harbouring secret hopes and anxieties in her which are eventually brought to light in the end.
Andrew Lua started out tentatively, but eventually grew comfortably into his role.
Erwin Shah Ismail played the role of straight-laced civil servant to a tee, while Amanda Tee and relative-newcomer Benjamin Kheng deserve credit for juggling a variety of roles competently.
It was also nice to see Engie Ho on stage and I particularly enjoyed her portrayal of the typically heartless Ministry director.
“BOOM” is an endearing play that speaks right to the heart of many Singaporeans young and old, and in the clever hands of Sight Lines, you’ll find yourself being treated to a story which stirs both the heart and soul.
It offers plenty of food for thought, and makes us re-examine our at times senseless obsession with urban redevelopment and renewal.
What price progress?
Bon Voyage, Dr Seet
Event: “Bon Voyage, Dr Seet” (the official farewell party for Dr KK Seet)
Venue: TheatreWorks @ 72-13 Mohamed Sultan Road
Date: 1st July 2012
A Warm Sending-Off From The Theatre Community
They say all good things must come to an end, and last Sunday evening the local theatre community bade a bittersweet farewell to Dr KK Seet as he embarks on the next phase of his life, while presenting him with the “Singapore Theatre Vanguard Award”.
Many in the theatre community would testify to what a wonderful teacher and mentor Dr Seet had been to them, and how much he had impacted the lives of many, both professionally and on a personal basis as well.
Arts NMP Janice Koh, a former student of his, was the evening’s host (apparently the first time she’s ever MC-ed an event), while close friends Beatrice Chia, Karen Tan and Nora Samosir each took turns to pay their tributes.
Beatrice Chia shared about how Dr Seet single-handedly saved her debut directorial effort (and perhaps her directorial career) with his openness of mind and his willingness to encourage and nurture.
Karen Tan gave a glimpse into Dr Seet’s remarkable sense of thoughtfulness through the many little kind acts he had done for her daughter, for which she is extremely grateful.
Nora Samosir talked about how she knew Dr Seet from way back in JC, and how the Dr Seet we know today is essentially the same person from way back, and has retained all the beautiful qualities many have grown to know him for.
The evening was not just an occasion for Dr Seet’s many former students to bid him farewell.
It was also an affirmation of the love and respect which the doyen has rightfully earned from the local theatre community over the past two decades.
The various theatre companies were well-represented at the event, and the list of 23 companies which officially endorsed his award is as follows: Action Theatre, A Group of People, Blank Space Theatre, Cake Theatrical Productions, Checkpoint Theatre, Drama Box, Dream Academy, Escape Theatre, HuM Theatre, I-Theatre, luna-id, Pangdemonium, Sight Lines Productions, Singapore Repertory Theatre, Sing’theatre, Stages, Teater Ekamatra, TheatreWorks, The ETCetras, The Finger Players, The Necessary Stage, Toy Factory, and W!ld Rice.
Truly a remarkable man who has accomplished much in a remarkable career.
It is sad to see him go, and while it is almost impossible to imagine another Dr Seet coming our way anytime soon, perhaps one could also take a step back to reflect on how one man was able to positively impact the lives of so many through a heart of love, dedication, patience, loyalty and graciousness.
In his speech, Dr Seet left us with a quote from Johnny Depp: “May the wind always be at your back and the sun upon your face, and may the wings of destiny carry you aloft to dance with the stars.”
Bon voyage, Dr Seet.
(photos taken from Dr Seet’s Facebook Page)
Happy Ever Laughter
Event: Happy Ever Laughter
Venue: Esplanade Theatre
Run: 27th June – 8th July 2012
Stand-Up For Singapore
When I first heard about the concept of Dream Academy’s “Happy Ever Laughter” a few months back, I wondered if it would work.
Even though I can’t quite remember if something like this has ever been attempted before, especially on a scale like this, it’s quite a simple concept if you think about it – gather a group of top-notch actors and get them to each take turns to do a short stand-up routine of their own.
Plain and simple.
There is no overlap of segments and the actors do not interact with one another throughout the show.
There is one static set, and each actor would come on stage, do their solo bit, and boom…they’re off.
Basically a local all-star comedy night if you will, albeit at the posh Esplanade Theatre and with tickets ranging from $37 to $117.
The quality of talent on offer is unquestioned – who can argue with a lineup which boasts the likes of Selena Tan, Moses Lim, Chua Enlai, Siti Khalijah, Michelle Chong, Judee Tan, Kumar, Sebastian Tan, Gurmit Singh, Najip Ali and so on?
The topics covered ran the gamut of all that is close to the hearts of Singaporeans, from politics to food to medicine to cultural and racial differences.
Selena Tan kicked things off with a rant on local politics and last year’s two elections, and although one was tempted to roll one’s eyes at yet another attempt to flog the proverbial dead horse (which has been flogged to silly extents by now), she did it with so much enthusiasm and charm that all was forgiven.
Besides, it was just as well that we cleared this obligatory topic out of the way right at the beginning so that the show could move on to the other topics.
Judee Tan was once again outstanding as the incomparable TCM (“Teo Chew Muay”) character which had previously slayed audiences in each of her past two appearances on “The Hossan Leong Show”.
If you’ve never seen this fabled character in action on stage before, you are well advised to do yourself a favour and witness this truly remarkable creation, quite possibly the best comical theatrical creation we’ve ever seen on a local stage.
Sebastian Tan, reprising his ever-popular persona of Broadway Beng, gamely takes jabs at himself over his recent weight gain and new-found man boobs, and gamely, er, milks the topic for all it is worth.
Perhaps the best receptions were reserved for Michelle Chong, who closed the first act, and Kumar, who closed the show.
Michelle Chong, probably the biggest star of the show thanks to her TV and movie fame, was resplendent in her pink outfit and donned the persona of a new character named “Salmonella” (don’t ask), who is apparently the Vice-President of the SPG club, of which Barbarella (of “The Noose” fame) is the President.
Kumar, who wasn’t too shabby in his white outfit either, was his usual zany and deadpan self with his monologue on property agents, old folks homes, drag queens and so on.
The material in “Happy Ever Laughter” was generally very strong, and the programme credits Edmund Shern, Mr Miyagi, Goh Jer Liang and Jasmine Teo as the chief writers, although material was also contributed by many of the cast members as well.
Although some monologues might have left a deeper impression than others, on the whole everyone had something to offer.
If this was a compilation hits album, then there certainly were no B-sides.
You could see that some attempt had been made to incorporate the very latest hot-button topics such as the CHC saga into the show, and although credit must be given for its recency, I felt that at times the jokes on the pastor and his wife bordered on insensitivity and also went a tad overboard.
Nonetheless, judging by the audience turnout tonight, Dream Academy might just have found itself with yet another lucrative theatrical franchise on its hands.
Will there be subsequent installments of “Happy Ever Laughter”?
Who knows, but one thing’s for sure – we Singaporeans love to laugh at ourselves, and can never get enough of such comedy shows.
It might be early days yet, but if Dream Academy’s “Happy Ever Laughter” goes on to become an unqualified success, then perhaps it just might be the perfect fairy tale ending for one and all.
Coming Soon: The Buttons Hour!
Event: The Buttons Hour
Venue: 7 Kickstart Brewiches @ 50 Armenian Street
Date: Wednesday, 1st Aug 2012
Time: 7pm – 9pm
Buttons Turns 2!
We’re turning 2 this coming August, and what better way to thank our readers than to organise a little get-together for anyone and everyone who’s into local theatre.
This would be the perfect opportunity to mingle and get to know your fellow theatre-goer friends in Singapore.
We’ve also got some fascinating little items lined up that evening, so it’s gonna be a happening evening for sure. (More details to follow.)
Places are limited, so please remember to email us at buttonsinthebread@gmail.com or leave a message on our FB event page to book a place!
Hope to see you all there!
Coming Soon: Utter 《优剧》
Event: Utter: A Double Bill 《优剧》: 双剧目
Venue: Play Den, The Arts House
Run: 5 – 7 July 2012
Director/导演: Nelson Chia (谢燊杰)
Cast/演员: Lez Ann Chong (张丽恩), Koh Wan Ching (许婉婧), Johnny Ng (黄家强), Rei Poh (傅正龙), Yang Kai Jie (杨凯杰)
As a lead-up tothe Singapore Writers Festival (SWF) in November, The Arts House presents a new season of Utter 《优剧》, a pre-festival double bill featuring two short plays in Chinese and English, which are adapted from the texts of local literati, Yeng Pway Ngon and O Thiam Chin.
Set in a café that is a metaphor of a writer’s mind, the two plays Shadows in the Forest (adapted by Lee Chee Keng from Yeng’s latest novel “The Studio 画室“) and The Yellow Elephant and The Girl Who Swallowed The Sun (adapted by Jean Tay from O Thiam Chin’s short stories in “The Rest Of Your Life And Everything That Comes With It“) supposition the encounter between the characters and their creator. An intimate dialogue about love, fear, betrayed ideals and fantastical animals ensues.
More details of the production can be found here.
Tickets are at $15 (excluding $2 ticketing fee) and can be purchased from http://www.bytes.sg/
About the authors
A recipient of the 2003 Cultural Medallion for Literature, Yeng writes in the fields of poetry, fiction, drama, social commentary and literary critique. “The Studio 《画室 》” was published in 2011 and picked by Yazhou Zhoukan as one of top 10 Best Chinese Novels Worldwide. O was an honorary fellow of the Iowa International Writing Program in 2010 and is the author of four story collections: “Free-Falling Man”, “Under The Sun”, “Never Been Better” and “The Rest Of Your Life And Everything That Comes With It”, with the latter two having been longlisted for the Frank O’ Connor Short Story Award.
About Utter
Utter debuted as a pre-festival event of SWF 2011, showcasing the best of Singapore writing and celebrating the written word’s potential to be adapted for different media like theatre, film and even games. Loosely interpreted, the word “utter” could be used as a verb and an adjective – to utter a word, or utter madness. This year’s instalment aims to bridge the generational and language divide by the pairing of these two works.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
为配合将在十一月举办的新加坡作家节，旧国会艺术之家即将呈献以本地作家英培安和胡添进著作为题材的一华一英的双剧目 – 《优剧》，作为新加坡作家节的前奏。
这新一季的 《优剧》由李集庆的 《影子森林》(改编自英培安的 《画室》) 和郑茵的 《黄色的大象及吞下太阳的女孩》(改编自胡添进的短篇小说《你的余生，及随之的一切》) 塑造出书中的虚构人物与作者相遇的幻境，并展开了一段关于爱、恐惧、背叛、理想、和奇幻动物的亲密对话。
有意者可到这儿读阅更多剧目详情。
此剧票价列为 $15 ， 可在 http://www.bytes.sg/ 订购。
作家简介
著写诗、小说和评论的英培安在2003年荣获总统所颁发的文化奖。他最新的小说，2011 年出版的 《画室》，被亚洲周刊列为全球最佳华文小说十大之一。
胡添进为2010年 “Iowa International Writing Program” 的荣誉院士, 并是四本短篇小说集 (“Free-Falling Man”, “Under The Sun”, “Never Been Better” 和 “The Rest Of Your Life And Everything That Comes With It”) 的作者。
《优剧》简介
《优剧》是新加坡作家节自2011年开办的节目。节目旨在以不同的艺术形式呈献杰出 (“优”) 的新加坡著作，如电影、戏剧等。
Coming Soon: “BOOM” by Sight Lines Productions
Event: “BOOM” by Sight Lines Productions
Venue: DBS Arts Centre
Run: 29th June – 8th July 2012
Fresh off their debut effort – the hit musical comedy revue “Trainstopping: The Year in Revue 2011” – which ran just less than two months ago at the Arts House, the tireless folks at Sight Lines Productions return yet again with their sophomore effort, this time restaging the well-known Jean Tay play “BOOM”.
“BOOM” was first staged at the SRT in 2008, and is also currently an “O” and “N” level literature text for secondary schools.
It is essentially a play about en bloc sales and grave exhumations, where two separate narratives are skillfully woven together.
One is about a housing agent and how he tries to persuade his mother to sell the flat, while the other is about a civil servant and his task of persuading a corpse to be exhumed.
In the process, “BOOM” explores very pertinent Singapore issues such as urbanisation vs preservation, urban renewal and the slow dissolution of local icons which hold vast historical and cultural significance for us.
The cast and crew even made a trip down to Bukit Brown Cemetry recently (see video below) to take it all in and get a better sense of the whole notion of cultural erosion and loss.
Derrick Chew (who also directed “Trainstopping”) directs this latest iteration of “BOOM”, while up-and-coming theatre names such as Andrew Lua (“Sing to the Dawn”, “Fried Rice Paradise”) and Erwin Shah Ismail (“Romeo & Juliet”, “Spring Awakening”) play two of the lead roles in this production.
Both Andrew and Erwin have been rather active in theatre lately, and are definitely names to watch out for in the near future.
Look out also for a cameo (if that’s the right word to use!) by Engie Ho, who also doubles up as producer for “BOOM”, and who is also one of the founding partners of Sight Lines.
In keeping with its aim of nuturing young theatre practitioners in Singapore, on top of casting Andrew and Erwin in lead roles, Sight Lines has also roped in budding talents such as Benjamin Kheng (cast) as well as the likes of Petrina Dawn Tan (lighting design) and a few others for various roles in the production.
According to director Derrick, this staging of “BOOM” remains faithful to the text, although audiences can look forward to elements of clever direction, lighting, and sound design.
“BOOM” might just be the local theatrical highlight of June, and we’re definitely looking forward to catching it.
Get your tickets (here) soon before they go the way of our disappearing national icons!
…
(Photos courtesy of Sight Lines Productions)
Buttons In The Bread 