Fondly nicknamed “Asia’s Broadway”, Singapore has seen its theatre scene flourish by leaps and bounds in recent years, with increasingly diverse offerings that resonate with both the mainstream and alternative crowds, and every production becoming bolder, more ambitious and even more brilliant. Indeed, Singapore has produced its fair share of prominent and creative theatrical talent, from the biggest names in the industry such as founder and artistic director of Wild Rice, Ivan Heng, award-winning playwright and poet Alfian Sa’at, and celebrated “Dim Sum Dolly” Pamela Oei to up-and-coming theatre practitioners such as Helmi Yusof and Thomas Lim.
This July, the Singapore Theatre Festival finally makes a grand comeback after a three-year-long hiatus, showcasing unique themes in Singapore’s society, chronicling a slice of Singapore’s history, and simultaneously making the drama scene even more accessible to Singaporeans.
The eight plays showcase unique themes surrounding Singapore society, and provide us with new perspectives when confronting issues of race, religion, politics and gender identity. Photo: Singapore Theatre Festival.
One of the highlights of this year’s Singapore Theatre Festival is W!LD RICE’s HOTEL, which premiered at the 2015 Singapore International Festival of Arts, and instantly found favour among Singaporeans, snagging Production of the Year, Best Director, Best Script and Best Ensemble at that M1-The Straits Times Life Theatre Awards 2016.
Spanning five hours, two parts and 11 scenes, HOTEL takes the audience on a whirlwind journey through a whole century of Singapore’s social, political and economic history, all taking place in a humble hotel that has withstood the test of time. The hotel room itself remains the only constant, as people of different generations, backgrounds, cultures and beliefs come and go through the years, simultaneously evincing the themes of permanence and transcience.
Permanence and transcience feature very prominently throughout HOTEL, as the hotel bears witness to many happenings throughout the years, and as people of different backgrounds and cultures come and go. Photo: Singapore Theatre Festival.
In each scene, we witness snippets of the lives of these individuals, share in their hopes, aspirations and joy and ache for their suffering and pain. Though fleeting, the stories that unravel on stage are bound to leave an indelible imprint on the hearts and minds of the audience. The scenes are set in different eras, in different political and social climates, with hallmark events that stress the unique features of that particular era, such as the Japanese Occupation in 1945, the Jemaah Islamiyah crackdown in 2005 and Little India riots in 2013. Despite this, a remarkable continuity and progression pervades the entire play, as we see the way the past connects with and even influences the present, with objects and people from the older scenes unexpectedly reappearing once again in the newer scenes, whether a prized family heirloom, a blanket used to wrap a Japanese baby, or a young Japanese boy-turned successful businessman.
We share in the joys, hopes and aspirations of the various individuals in each scene, as well as their pain and suffering. Photo: Singapore Theatre Festival.
The 13-member-strong cast put up a spectacular performance, speaking 9 languages and dialects throughout the play, competently switching from character to character and bringing each one to life on stage. It offers us a brief glimpse into a moment in their lives, whether a man stricken with cancer who wishes to pass away in the hotel, a Japanese soldier facing a major dilemma, a Chinese maid suffering at the hands of her employer, or a bride-to-be battling her mother’s conservative, racist mindset. Collectively, the play undeniably celebrates the long way Singapore has come since the 1910s, but also invites much thought and conversation revolving around sensitive issues of politics, race, religion and gender identity.
The talented and creative cast switched effortlessly from character to character, making the stories come alive on stage. Photo: Singapore Theatre Festival.
One scene in the play takes us back to the end of the Japanese Occupation of Singapore in 1945. Photo: Singapore Theatre Festival.
Apart from HOTEL, Rodney Oliveiro’s Geylang is bound to blow your mind, featuring strikingly different characters such as a pair of star-crossed lovers, a single mother, a gang leader and even a civil servant. The motorbiking youth community and their reckless, rebellious spirits fill us with nostalgia and a renewed understanding of youths growing up in Riders Know When It’s Gonna Rain. Let’s Get Back Together offers an insider’s perspective into the complex issues that lesbian, gay, bisexual and transgender people encounter everyday in Singapore, and challenge us to move beyond our own prejudices into love and acceptance. Helmi Yusof’s My Mother Buys Condoms is cheeky, funny, yet moving, weaving together both romance and aging, two unexpected ideas we never knew could go together.
Indeed, Singapore Theatre Festival 2016 has plenty to offer, not only providing a platform for brilliant new local works, but also gifting us with a renewed perspective of the many controversies plaguing Singapore and the world today.
What: Singapore Theatre Festival 2016
When: 30 June to 24 July 2016
Where: LASALLE College of the Arts
Tickets: Get your tickets at Sistic online or call +65 6348 5555. Ticket prices range from S$35 to S$130.
