19 November 2016


by Ayad Akhtar
Singapore Repertory Theatre
KC Arts Centre, Singapore

"They disgraced us," a character utters towards the end of Ayad Akhtar's Pulitzer Prize-winning play. It's a dirty word, an expression of contempt against a society that has formed its own view about what is right and who is wrong. In this post-Brexit, post-Trump world where it is impossible to ignore the fault lines of race and religion, Akhtar's play about a disastrous dinner party has never felt more urgent.

Disgraced throws us into the world of an urbane New York couple: Pakistani-American Amir Kapoor (Gaurav Kripalani), a successful corporate attorney,  and his white wife Emily (Jennifer Coombs), an artist with a penchant for exploring Islamic designs. In his climb up the economic ladder, Amir has shed his last name together with virtually all vestiges of his religion - he drinks like a fish, decries the Quran as a "hate-mail letter to humanity" and relishes a good pork tenderloin. When he reluctantly helps an imprisoned imam, suspicions are raised at his law firm as to his affiliations. Things reach boiling point over dinner with his African-American colleague Jory (LaNisa Frederick) and her Jewish art curator husband Isaac (Daniel Jenkins).

Photo Credit: Singapore Repertory Theatre

Central to the play is the fact that it's impossible to break away from the labels etched by one's cultural identity. Amir may have achieved success in every sense of the word but it only takes an airport security check or a pointed question about where his parents are from to make him realize that people like him will always be viewed askance.

This Singapore premiere, directed by Nate Silver, is serviceable and generally well-paced. It catapults us straight into the action, allowing Akhtar's slow burn of dialogue to keep us entranced throughout the ninety minutes.

Swapping his producer's hat for an actor's, SRT Artistic Director Kripalani tries his best at the leading role but ultimately proves disappointing. He comes across as merely delivering a series of lines and gestures rather than inhabiting a full-blooded character and this lack of believability in his performance weakens the tone of the production. One simply cannot understand the anger his Amir feels at a religious tradition he has sworn off. When he finally explodes, we are unable to see what leads him to this point.

Photo Credit: Singapore Repertory Theatre

Frederick is a standout as the confident, straight-talking Jory, bringing some much-needed comedy to leaven the escalating tension. Coombs's Emily is also a powerful presence, conveying a liberal who is simply unable to look past the rose-tinted lenses of her white privilege to understand her husband's cultural tussle. Her realization, albeit too late, that she has been "blind" all along wrenches the soul.

Local theatre stalwart Jenkins makes a smooth transition from pleasant acquaintance to outraged global citizen although his patchy American accent proves distracting. Rounding out the cast is Ghafir Akbar who has a small but solid turn as Amir's nephew, a steadfast young man who finds himself caught between his adopted American life and standing up for his own people.

One remains unconvinced by James Button's clean, functional set which seems to channel an IKEA showroom instead of  the moneyed world of New York's Upper East Side. The iconic painting by Emily, which forms a recurring topic of conversation, looks like a giant mosaic tile and it's difficult to believe that this would be striking enough to impress a veteran gallerist.

It's no surprise that Disgraced is currently one of the most widely produced plays in America and the SRT has done a terrific job in bringing us this vital, provocative piece of political theatre. The identity politics and deep-seated prejudice it explores are frequently glossed over in everyday conversation and it's essential for these issues to be dissected in the open. It's only by confronting what is ugly in society that we can correct misunderstandings, accept people for who they are and, ultimately, learn to live with grace.

The Crystalwords score: 3.5/5

18 November 2016

You Are Here

by Pooja Nansi
The Esplanade
Kalaa Utsavam - Indian Festival of Arts 2016
Esplanade Recital Studio, Singapore

This absorbing chamber piece, written and performed by poet and spoken word artist Pooja Nansi, began its journey as part of Checkpoint Theatre’s performing arts showcase What I Love About You Is Your Attitude Problem at the Singapore Writers Festival 2015. It was subsequently featured as a work-in-progress at The Esplanade's Studios season earlier this year. In this version for the Kalaa Utsavam, directed and dramaturged by Joel Tan, it finally reaches its full potential.

You are Here is both a heartwarming recollection of Nansi's family stories sprawling across three generations and a struggle to understand her cultural identity as a first generation Gujarati Singaporean. We are introduced, in turn, to a series of couples who we learn are her parents and grandparents - unique, interesting individuals whose life choices led to her existence in this place and country.

Running through the narrative is an attempt to make sense of her place in the world. Entering primary school in the late 1980s, the young Nansi is shepherded into a Tamil language class by default because she is Indian and it takes some convincing before the school allows her to offer Malay as a second language instead. She is bewildered by a canteen selling strange items like chicken rice and chin chow which look nothing like the Gujarati food she has been brought up eating. When her mother packs her a tiffin meal, Chinese children tease her for eating food that looks like brown shit. In a desperate attempt to fit in, she implores her mother to make her a jam sandwich the next time.

Anecdotes such as these shine a spotlight on those who quietly slip through the cracks in a country that prides itself on being multi-cultural. Indeed, Singapore is one of those places where society is only too keen to pigeonhole people into neat little boxes and does not always respond well when someone bucks the trend.

The sixty-minute performance is interspersed with a lively mix of songs and poetry. Nansi delivers a memorable account of the heady clubbing culture amongst Indian university students in early 2000s Singapore and sings an aching song of devotion to one's country, reminding us of the pleasures and pains of cultural dislocation and creating a home away from home.

However, not all the elements work well. A recurring segment sees Nansi recording significant statements or remarks drawn from her narrative and playing them in loop. This swirling montage of words that have shaped her cultural consciousness and sense of place grows tedious after a few iterations. In the same vein, email exchanges between Nansi and an NParks official regarding her attempt to hold an outdoor Hindu wedding ceremony at Hort Park provide some laughs but do not feel a particularly necessary addition to her story.

The narrative is brought to life with the aid of a great technical team. Wong Chee Wai's set comprises of three large panels on which life-sized family photographs are projected and the stage is beautifully lit by Lim Woan Wen as Nansi walks around recounting details of their lives and loves over the passage of time.

You Are Home ultimately shines as a piece of honest, unadorned storytelling about finding and accepting oneself, regardless of the labels society may choose to brand one with. In this rapidly changing world, it reminds us to connect with the stories of our past and to celebrate the colourful and contradictory forces that have shaped our identity.

The Crystalwords score: 3/5

13 November 2016

Siti Khalijah: An Actress Prepares

by Alfian Sa'at
Singapore Writers Festival 2016
Play Den, The Arts House, Singapore

Siti Khalijah has played many roles in her time. One of the most talented and versatile actors of her generation, she burst onto the scene in 2003 when, as a shy ITE student, she participated in the year-long Theatre For Youth Ensemble (TFY) programme run by The Necessary Stage. She found her calling, decided to make a career out of acting and has never looked back since.

Now she gets to spend a whole hour playing no one but herself. It's not something she finds easy, being so used to slipping into the psyche of another character like diffident mental patient Saloma in Off Centre, trilingual political aspirant Juliana in Gemuk Girls or hapless Indonesian maid Melly in Model Citizens.

Photo Credit: Singapore Writers Festival

This special commission of the Singapore Writers Festival, penned by Alfian Sa'at and directed by veteran thespian Aidli 'Alin' Mosbit, gives us an intimate glimpse at the person behind the actress and her journey towards becoming the well-known theatre and television personality she is today. Drawing its inspiration from Konstantin Stanislavsky's iconic book An Actor Prepares, we are treated to a cosy confessional as Siti applies make-up, does stretching exercises and dresses in a shimmering gown before our watchful eyes.

Siti starts by reading out excerpts from Stanislavsky's book on the craft of an actor, contrasting acting by 'method' (from inside out) versus acting by 'technique' (from outside in). This is juxtaposed with stirring anecdotes from her past. Theatre in Singapore is a largely upper middle-class activity, she candidly remarks. It's something few people from her background would have been a part of. She takes us back to her days as an eager but gauche student, keen to try new things but never quite fitting in with the cool crowd. Her foray into the performing arts through Chinese dance and cheesy pop songs finally reaches fruition when she is selected for the TFY programme under the mentorship of respected practitioners such as director Alvin Tan and  playwright Haresh Sharma.

Even then, she cannot help but feel like a fish out of water. With a characteristic blend of humour and honesty, she describes her experience in the programme as akin to a minah from the ghetto being thrown into a ballet academy. Yet, looking past this world that seemed full of upper-class people with a fancy arts education, she persevered and the fruits of her labour paid off. Her work on stage has allowed her to travel the world and earned her a place on hit television programmes such as The Noose. She is a two-time-winner of the Life! Theatre Award for Best Actress and was a recipient of The Young Artist Award by the National Arts Council in 2014.

One is struck by the incredible humility and discipline Siti displays in the face of such an impressive resume. Rather than feeling typecast as a Malay-Muslim woman, she relishes the opportunity to act as a voice for her people and to tell their stories on stage. In a memorable sequence, Siti ponders what her life would have been like had she not gone into theatre. In this alternate world, she would have continued her studies, married a nice Malay boy and had three kids. She would have led a simple and generally contented life but perhaps, in her spare moments while watching television, she would wonder if she could do a better job than the actress on the screen.

It's a testament to Siti's skill as a performer that one remains enraptured throughout the piece. An Actress Prepares is a heartfelt, engaging and ultimately heartwarming celebration of a life well spent in the theatre, one that will only be filled with brighter tomorrows. As Siti finally stands centre stage, all dolled up, and belts out a song dedicated to those who have left the local arts community, we understand what all the fuss is about: she is every inch the star.

The Crystalwords score: 3.5/5

05 November 2016

Best Of (His Story)

by Haresh Sharma
The Necessary Stage
The Necessary Stage Black Box, Singapore

There are two sides to every story. Three years ago, The Necessary Stage gave us Best Of, a monologue about a day in the life of a young Malay-Muslim woman undergoing divorce at the Syariah courts. We gain a compelling snapshot of her fears and frustrations and learn of a husband who has stopped responding to her.

That husband (Sani Hussin) now has the chance to air his side of things in this companion piece by playwright Haresh Sharma and director Alvin Tan, which picks the story up one year later on the day the divorce is to be finalised.

Like its predecessor, the play explores divorce within the Malay-Muslim community and the structures that stand in the way of a couple deciding that marital life is not for them. We hear of a religion which allows yet frowns upon divorce, a court counsellor intent on making the couple change their mind and a quietly crestfallen mother who never sees her son in the same light after learning of his failed marriage. All this is superimposed on an image of a marginalised community grappling with issues such as crime and academic underachievement.

While the wife's character in Best Of simply sat on chair and told her tale, Sani paces back and forth for seventy minutes, recounting the events of the day and providing occasional flashbacks. Sani displays a solid range of emotion to power the script and provides colourful impersonations of his two best friends, a louche ex-con and campy civil defence buddy.

Tan's direction however feels unwieldy and only serves to underscore a fairly dull character who does not know what he wants in life. The most arresting moment of the evening is also its quietest - the character performing the solat istikharah, a prayer to seek guidance and direction.

A key theme in Best Of (His Story) is the evolving concept of masculinity. The husband feels trapped between cherished images of his father and grandfather, men who demanded submission from their spouses, and a sensitive modern man who respects his wife’s need for independence and her own social life. This tussle between tradition and modernity is physicalized in him vacillating between the designer sofa bought by his wife and a straw mat on which he recites prayers.

Photo Credit: Crispian Chan

Vincent Lim's set is fringed by sheer white curtains which Sani tugs on throughout the play, closing off the space his upwardly mobile wife had created. When he finally moves the expensive furniture aside, we see him as a man who has reclaimed his place, allowing him to truly relax and dance to the tunes of his childhood. All this is conveyed by Gabriel Chan's simple and sensitive lighting.

Where I ultimately struggled was in buying the authenticity of the character. One cannot shake off the sense that this is just an actor pulling off a competent performance. It is worth noting that the earlier iteration had been developed with and written specifically for actress Siti Khalijah, resulting in a performance so natural and organic that it virtually broke the fourth wall. One somehow expects the same degree of realism but this just does not come through.

Both plays in the Best Of series provide a nuanced portrait of a community struggling to find meaning in an uncertain world. These are by no means perfect individuals but they are trying, against all odds, to make the best of their situation. And one is inclined to give them the benefit of the doubt.

The Crystalwords score: 3/5

04 November 2016

Between the Lines: Rant and Rave II

by Chong Tze Chien
The Finger Players / Singapore Writers Festival
SOTA Studio Theatre, Singapore

The Singapore Writers Festival 2016 kicks off with an intelligent and carefully researched work of documentary theatre by Chong Tze Chien that takes us on a journey through Singapore's literary history spanning more than half a century. Unlike his 2012 production Rant & Rave which focused exclusively on the Singapore theatre scene, Chong draws the canvas far wider in this sequel and explores the style and content of local literature, the role of institutions and policies in shaping the development of an indigenous literary scene and the key players in the landscape such as readers, writers and academic commentators.

The result of this vastness of material makes the themes feel slightly disorganized. We start with a cursory glimpse of Malayan literature in the colonial era before swiftly moving to post-independence Singapore and the struggle to find a uniquely Singaporean voice and idiom, as reflected in iconic poems by pioneers like Arthur Yap and Edwin Thumboo.

Chong reminds us how Singaporeans' love of local literature developed though a healthy diet of horror fiction and sensationalist writing such the True Singapore Ghost Stories series and Bonny Hicks's bawdy confessional Excuse Me, Are You A Model before the current literary renaissance that has seen an outpouring of fresh writing on all topics, eagerly encouraged by publishers like Math Paper Press and Epigram Books.

A segment that is of particular interest focuses on institutions shaping the literary culture. There were nostalgic sighs from the audience at references to the Bookworm Club of the 1980s and the arrival of American bookstore Borders in the mid 1990s which rapidly became the hottest hangout in town until poor sales forced it out of the market, a victim of its own liberal browsing policy. While bringing in references to independent bookstores like BooksActually and Littered with Books is important, the narrative could have explained how the rise of online merchants in the past decade has been a primary factor explaining the dearth of traditional book buying.

Photo Credit: Singapore Writers Festival

Finally the role of governmental policies is not spared. As liberal as we may fancy the current scene, the spectre of censorship is always there to rear its ugly head. Recent scandals over the culling of a children's book with homosexual characters from the public libraries and the removal of a grant for Sonny Liew's critically-acclaimed graphic novel The Art Of Charlie Chan Hock Chye (which went on to win the coveted Singapore Literature Prize) provide powerful illustrations.

Similar to the original production, performers Jean Ng and Serene Chen read out extracts from the various publications and take on the guises of an assortment of personalities through a quick change of hat, wig or glasses. They handle the material with confidence though one senses that they are rushing to switch between the numerous roles instead of letting some moments simply simmer. Chong's production could also be better paced, particularly in the more languid second half. The opening of illuminated, book-shaped lanterns to mark each theme is a nice visual touch but feels laboured, particularly in the closing sequence.  

Still, there are a number of colourful impersonations to enliven the evening. Serene Chen nails the cadences of outspoken writer Catherine Lim and an ineffectual politician while Jean Ng's portrayal of bookseller Kenny Leck, complete with Medusa-like hair and purring kittens, brings the house down.

It's perhaps the finale of the show that is most special. The stage, comprised of rows of tall white bookcases, turns into a mini bookstore and the audience is invited to wander in and sample the rich delights of local literature. A fitting end indeed to a performance that celebrates the world of books.

The Crystalwords score: 3/5

13 October 2016

Starring Hitler as Jekyll and Hyde

by Chong Tze Chien
The Finger Players
Victoria Theatre, Singapore

This ambitious play, the first of a planned trilogy by playwright-director Chong Tze Chien on Adolf Hitler, seeks to interrogate the life of the infamous German dictator and provide us with a fresh context in which to view the man.

Chong frames his play as a trial where a Nazi Prime Minister (Joshua Lim) questions Ava Braun (Edith Podesta), Hitler's mistress, to find out more about him. Braun simply cannot fathom how the man she grew to love so much could be capable of acts of horrific violence and starts painting a portrait of him for us.

We are swept back to a calmer world which presents Hitler (Daniel York) as a struggling painter called Jekyll who fails to get into an art academy and is reduced to hawking his work for money. Braun, a gallery owner, takes pity on him and brings him into her world and gradually, her heart. Little is she aware that Jekyll battles his own demons. He is confronted by a voice deep within him that champions the provenance of a pure Germanic race, spurring him to eradicate Jews whom he feels have unfairly robbed him of artistic advancement.

Taking on this Jekyll and Hyde template, the mild-mannered artist is powerless to control the machinations of his alter ego. Massacres of Jews erupt all over town as the latter's acts grow more insidious. Lim's character, a junior police inspector at the time, is tasked with the job of cracking down on this brutal serial killer, all the while hiding his own secret: his beloved childhood nanny (Jo Kukathas) is herself a Jew and has been staying with him.

The production is carried by the strength of its ensemble cast and there are particularly powerful turns from York, who invests the titular character with malevolence and melancholy, and Podesta as a strong yet tragic voice of reason. In a nod to the company's roots in puppet work, Chong makes extensive use of shadows, where actors enact scenes behind a white screen, looming larger or smaller as they move deftly around the lights. Lim Woan Wen's lighting and Darren Ng's soundscapes contribute to this evocative and visually sumptuous experience, with black and red forming rich colour palettes.
Photo Credit: Tuckys Photography

Yet, one remains unsure what Starring Hitler seeks to achieve. Is it meant to humanize a tyrant like Hitler by painting him as a victim of split personality? Or does it seek to satirize the state agenda of controlling artistic expression which results in its own downfall? There are various strands to the tale that do not fully interlock.

Julius Foo appears as a closeted police commissioner whose clandestine relationship with a younger officer proves to be his undoing. This homosexual theme however seems to be only incidental to the plot. Likewise, Jekyll makes powerful speeches about the merits of art, giving the play the feel of a performance-lecture which rails against arbitrary censorship of the arts. What this adds to the rest of the narrative remains unclear.
A more powerful metaphor is offered in the opening and closing sequences which feature the cast standing in a row, bearing placards with their actual ethnicities. They then flip this around to reveal the words 'Jew' or 'German' to reflect the characters they are playing. The point here seems to be that we are all, always and inevitably, pigeonholed by our identities: be it racial, religious or political. 

Starring Hitler is a play of rich ideas and richer contradictions. Chong may not have something classic on his hands but he has certainly crafted an intelligent work that does not shy away from asking the hard questions. It's just sometimes important to know what these questions actually are.

The Crystalwords score: 3/5

11 September 2016


by Yasmina Reza
in a translation by Christopher Hampton
Singapore Repertory Theatre
City Hall Chamber, National Gallery Singapore

Yasmina Reza's 1994 play about three friends and a polarising piece of art grows richer upon each viewing. A Mandarin version by Nine Years Theatre in 2014 brought out the theme of conspicuous consumerism that is so prevalent in parts of Asia. This revival of Christopher Hampton's sparkling English translation (last staged by the SRT in 1998 and 2002) throws into sharp relief the complex nature of friendship and to what extent one feels validated by the choices one's friends make.

Director Danny Yeo has assembled a cast of veteran Singaporean actors for this latest outing. Gerald Chew imbues Serge, the divorced dermatologist who takes great pride in having snagged an aggressively modern, completely white painting for an exorbitant price, with an acerbic condescension that is a delight to watch. Lim Yu-Beng's Marc is all tightly-wound passive aggression as the classicist who simply cannot accept that his best friend has developed such questionable taste and loses no time in denouncing the painting as a "white piece of shit".

Rounding out the cast is Remesh Panicker as the good-natured but ineffectual Yvan who gets pulled into the crossfire between the two men and is forced to take sides when things grow personal. Panicker, reprising the role of Yvan for the third time, is a striking presence as the large yet mousy man-child who is never quite sure what to say. While he doesn't achieve the same note of jittery perfection that brings down the house in his massive monologue about domestic strife in the wake of his impending wedding, his antics break through the tension and add a strong comic vein to the verbal onslaught.

The three actors handle the material with a practiced confidence and easily command the stage though one gets the sense that they are not fully comfortable in their roles. There is an artificiality in the way the dialogue is bandied about at a breathless pace and this makes some of the orotund exchanges rather tedious. I don't think there's any harm in adopting a local setting or introducing the odd bit of vernacular - indeed, this may have brought the characters slightly closer to home.

Photo Credit: Singapore Repertory Theatre

One of the areas this production of Art excels in is in holding up the mirror to the fragile nature of friendship. Perhaps what holds a group of friends together after the passage of time is less true companionship and more the ability to achieve a consensus in world views and ideals. When these diverge, there is little to prevent the thread from snapping. The line "So here we are at the end of a fifteen year friendship" emerges as one of the most chilling of the night, reminding us of the extent to which we, consciously or not, dictate the choices our friends make and how tenuous is that link that binds us together.

Yeo's production is billed as giving a fresh spin to this intelligent comedy by staging it in the National Gallery. Yet, the venue and staging prove somewhat of a let down. Aside from the generally poor acoustics in the City Hall Chamber, one rather expects to be surrounded by other paintings, which would have lent a delicious bite to a play which riffs on artistic merit. The set, a simple sofa and chair in front of a painted backdrop, is surprisingly austere for SRT standards.

All in all, this is a decent and serviceable production of a timeless comedy about the power of friendship and the meaning of art. I'm not sure the SRT has brought anything new to the table with this latest iteration - Nelson Chia was far more successful with his crisp, elegant Mandarin version two years back - but it still makes for a terrific night out. One is guaranteed to ponder, just a little longer, the next time one encounters an interesting piece of art. 

The Crystalwords score: 3/5

08 September 2016

Sandaime Richard

by Hideki Noda
Singapore International Festival of Arts 2016: Potentialities
Victoria Theatre, Singapore

The SIFA is never complete without a showstopper helmed by festival director Ong Keng Sen. And one really should be used to his style by now. Lear Dreaming was an aesthetically intoxicating distillation of Shakespeare's great tragedy that saw a multi-lingual fusion between eastern and western performance styles. Facing Goya, an English opera about ethics and science, involved a resolutely multi-racial cast and a kaleidoscope of technical effects. And last year's critically acclaimed The Adventures of Border Crossers was a mammoth durational performance about migrant workers that revelled in its defiant babel of languages, costumes and overlapping narratives.

The common theme amongst these productions is a reworking and recontextualising of classics and the adoption of a plurality of voices. This is all well and good in theory but it also makes for a challenging experience that has the potential to alienate viewers.

Photo credit: Jun Ishikawa

Sandaime Richard is a crafty, inter-textual spin on Shakespeare's Richard III by Japanese playwright Hideki Noda. Richard, quintessential villain and usurper of the English throne, is cast here as Richard Sandaime (Kazutaro Nakamura), grand master of an ikebana (Japanese flower arranging) clan. Shakespeare (Doji Shigeyama) is placed on trial for falsifying history in his play and using the character of Richard as a means to exact revenge on his own crippled brother. The prosecution is led by an effervescent Maachan of Venice (Janice Koh), who has his own bone to pick: he has to contend with being the despised Shylock of Shakespeare's creation.

All this is stimulating enough but Ong throws yet more pastiche into the mix: we have performers speaking different languages (English, Japanese and Indonesian), playing multiple roles and adopting varying performative styles - ranging from the gender-bending traditions of kabuki to the evocative shadow play of wayang kulit. Richard is played by Kazutaro Nakamura, a performer who specialises in female kabuki performances and gives the character a bashful, effete spin. Maachan is played by a woman.

Multi-lingualism has been a cornerstone of Ong's work but one wonders to what extent part of the play's power has been lost. Reading the English surtitles alone is unable to allow one to appreciate the richness of Noda's wordplay. Indeed, it's difficult to be drawn into a conversation where we have a character speaking one language and getting a reply in a completely different one. While this may suggest a certain universality of experience, the babel of languages tends to frustrate.

Photo credit: Jun Ishikawa

The other aspect is the artificiality of the whole enterprise. This was something I distinctly felt in Lear Dreaming, which seemed to be comprised of utterly disparate elements cobbled together to form a narrative. Once again, we are presented with a series of visual spectacles that do not always cohere. Wayang kulit segments by puppeteer and vocalist I Kadek Budi Setiawan are beautifully executed in their own right but seem oddly juxtaposed against the blazing action: an extended finale sequence proves anticlimactic. Segments of stand-up comedy interspersed with the action are rather superfluous and tend to break up the pace.

There are however some beautiful technical displays. Lighting is used to electric effect by  Scott Zielinkski, bathing the stage in arresting palettes of colour. At times, the actors virtually blend in with the background while, at others, they stand out in stark, psychedelic contrast. The costumes by Mitsushi Yanaihara  are also a success, marrying tradition and modernity with finesse.

Sandaime Richard is ultimately a production that fuses play, parable and performance art with irreverent glee. One cannot deny its magnetic effect but in Ong's quest to explore multiplicities,  a leaner, cleaner approach may well have been the means to unlock the true potentiality of the text.  

The Crystalwords score: 2.5/5

26 August 2016

The Last Bull: A Life in Flamenco

by Huzir Sulaiman
Checkpoint Theatre
Singapore International Festival of Arts 2016: Potentialities
SOTA Drama Theatre, Singapore

Checkpoint Theatre’s latest production is a rich, emotionally absorbing celebration of an artiste’s life. The subject is a veritable titan in his field: 75-year-old Antonio Vargas, one of the world’s leading flamenco dancers and choreographers.
Playwright Huzir Sulaiman distils key events from Vargas’s life into a compelling narrative that sweeps us across seven decades and four continents. We learn about his childhood as a Sephardic Jew in Casablanca, growing up amid a babel of cultures and languages. Upon discovering flamenco at the age of five, he was absolutely entranced by the traditional art form that is simultaneously visceral, emotive and graceful.
Photo Credit: Crispian Chan
Despite early opposition from his father, Vargas stuck to his passion and won a place at the renowned Pilar Lopez Spanish Dance Company before striking out on his own and spreading his craft to places such as the United States, New Zealand, Australia and, most recently, Singapore where he is currently artistic director of dance company Flamenco Sin Fronteras.
While seeing Vargas on stage is a treat in itself, Huzir and director Claire Wong are sensitive to the theme of a collaborative artistic journey, and use an ensemble of eight actors to tell this story. They take turns playing Vargas at different stages of his life.
Wong has assembled some of the finest actor-dancers in the local theatre industry and coaxes superlative performances from them. There are particularly impressive turns by Frances Lee, Thomas Pang and Erwin Shah Ismail. The actors perform flamenco dance sequences with aplomb and delightfully portray the many personalities Vargas encounters in his life.
Photo Credit: Crispian Chan
And what a life it is — touring the world, courting celebrities such as The Beatles and Tom Cruise, and dealing with love and heartbreak. Huzir tackles this with tremendous sensitivity and characteristic finesse, giving us language that is lyrical and evocative.
The production is augmented by Lim Woan Wen’s lighting, with its beautiful colour palettes, Shah Tahir’s absorbing sound design and Chris Chua’s minimalist set. On the multimedia front, one rather wishes to see photo and video excerpts from Antonio’s life, instead of a series of images featuring his current self. While the play stretches to nearly three hours, it is so rewarding that one can hardly complain.
The actors, vocalist Antonio Soria and guitarist Sergio Munoz also break the fourth wall through a series of personal monologues where they reflect on their life and craft as performers. It is here that we see the larger story Huzir wishes to capture; as much as this is about one remarkable life, it is about the interconnectedness between artistes — whether they are just finding their craft or at the pinnacle of their profession. These are individuals ignited by a common passion and witnessing this is both moving and intensely cathartic.
Photo Credit: Crispian Chan
In the last monologue, Vargas tails off, saying “I have no words left”. When he finally takes to the stage for an extended dance solo, we understand. At the end of the day, this man is all about the dance. And it is utterly breathtaking.

The Crystalwords score: 4/5

*An edited version of this review was written for TODAY and published on 30 August 2016.

12 August 2016

Hamlet | Collage

based on the play by William Shakespeare
in a translation by Boris Pasternak and Mikhail Lozinsky
adapted by Robert Lepage
Theatre of Nations
Singapore International Festival of Arts 2016: Potentialities
Drama Centre Theatre, Singapore

One could perhaps be forgiven for expecting something abstract from this production. After all, it's helmed by inventive French-Canadian director Robert Lepage. Yet Hamlet | Collage, presented as part of this year's Singapore International Festival of Arts, proves to be a fairly faithful version of Shakespeare's great tragedy.

The key difference is that the entire play is performed by one person - acclaimed Russian theatre and film actor Evegeny Mironov. He takes on all the principal roles in the text and performs on a constantly rotating, open-faced cube with an assortment of concealed doors and compartments. A team of thirteen people, working behind the scenes, are required to achieve this feat. 

Photo Credit: Sergey Petrov

Lepage and his creative team fuse music, film and lights to create  a constantly engaging theatrical spectacle, aided by video projections that transform the bare walls of the cube into a multitude of settings. The impressive multimedia work plays out like a three- dimensional kaleidoscope. Slight adjustments to the text and the Cold War-era setting also give the production the feel of a spy thriller. One is constantly left guessing as to what will happen next. 

The production is littered with memorable scenes. During the climactic play-within-a-play, Evegeny moves along a bench, deftly portraying the expressions of all the characters watching the troupe of players. The fencing match between Hamlet and Laertes sees the men fighting against video projections of each other like a life-sized computer game. In one of the production's most arresting images, the drowning Ophelia melts into a blue cloth and disappears into a hole in the ground. As the cube rotates, we see her body suspended below the 'water', shimmering and ethereal.

The downside to all this visual splendour is that the character of Hamlet seems to be drowned out. One is so drawn to Evegeny's highly physical, chameleon-like transformations into each character - be it demure Ophelia, pot-bellied, blustery Polonius, regal Claudius or campy Osric - that one ends up losing interest in the Danish prince himself. 

Photo Credit: Sergey Petrov

There is a clear suggestion that this Hamlet is a man imprisoned by his thoughts. The play begins and ends with the image of a weary, straitjacketed Hamlet slumped on the floor and the events of the play seem to be the product of an overwrought mind. There is something quite moving about this version of Hamlet as the sad, solitary outsider, boxed in (quite literally) by a world he is unable to comprehend. However, the sheer variety in the performances and relentlessly inventive staging robs the play of its emotional thrust. 

With a run time of 145 minutes, the production is shorter than most versions of the play. Yet, the action tends to drag due to the constant bombardment of images. The swathes of English surtitles (largely based on the original text) also prove tiring on the eyes and one cannot help growing restless as the play ploughs on without an intermission. 

Ultimately, one cannot deny that Lepage's Hamlet | Collage is a visual tour de force and it boasts a truly captivating performance by Evegeny that is guaranteed to enthrall. A powerful marriage of theatre, technology and technical finesse, this is a Hamlet that is both one man and all men.

The Crystalwords score: 3.5/5