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SUMMER 2019
SINGAPORE AT THE FRINGE
We've had some fantastic Singaporean talent hit our theatres this month in London at The Camden Fringe. As we wave goodbye to another season of excellent independent theatre, we check out the highlights from ultra cool Ruyung and FK Co Lab's current production which rocked the stage this year.
The Cardboard Kitchen Project : A Tale of Love, New Life and Cardboard
JOY MUHAMMAD, AUGUST 2019
'Change is when you can’t go back '
And so begins The Cardboard Kitchen Project, recently featured in North London's Lion & Unicorn Theatre as part of the Camden Fringe festival. It's the latest production from all women Singaporean theatre company FK CoLab. The story is about Jennie (Varshini Pichemuthu), a post grad in her thirties who in her own words, works in capitalism to pay the bills. She's recently moved from Singapore to London leaving behind doting parents and her husband, Jean.
The show sticks to it's theme of cardboard, mainly with its’ set which is initially sparse with the main character peering through a cardboard frame which is the doorway to her new flat. She chats with her mum in Singapore over a cardboard phone while waiting for her hedonistic flatmate Hana to arrive. As it's a one woman play, we don't get to see any of the other characters involved. Pichemuthu projects them perfectly, from her parents to fairy tale personas with sometimes, interaction from the audience.
When she finally meets her flatmate, usual stereotypes are thrown in from a casually ignorant but frustrating Western viewpoint. Not only does Hana fail to pronounce her co tenant's name properly - 'Jen-nie' - she also thinks that the name and her don't sound Singaporean enough like the film Crazy Rich Asians. She gets even more confused when she discovers Jennie's birthname is Jayashree, leading to an dialogue of nicknames used in everyday Asian culture which is explained beautifully.
Jennie introduces the audience to the real Singapore which is a far cry from Hana's naïve, but typical expectations of the South East Asian country. She enthuses on London shopping trips accompanied by a naturally cold breeze, comparing the temperature to air conditioners chilling Singaporean shopping malls. At the same time, she misses the kitchen of her parent's house, a crowded hub of activity and seemingly the heart of her family home, contrasting with her own new and more spacious culinary space where she feels far more trapped. We discover how in a Singaporean household, a dash of tomato would replace our library of spices and when a dining table would hold everything but a meal, which would be ate while sitting on the floor with the rest of the family.
We're introduced to more additions to the set which arrive in the form of a mysterious large parcel which turns out to be of set of boxes painted with kitchen designs. Jennie assumes it's sent from Jean from the handwriting on the box and ponders constantly on why he has sent her a cardboard kitchen as she confusingly sets it up. There we find out more on their marriage, as she merges a flashback with a fairy tale which is a nod to a famous Singaporean celebrity chef and cheeky lingo. As Jennie completes the cardboard kitchen it is clear that there's more to her exuberance than it seems. She yearns to see her husband again and as the play progresses, gets her answers with a sad twist.
The Cardboard Kitchen Project is a moving tale on close relationships, running high with uneasy emotions but often with sentimental moments and comedy. It's the little details, (including that fabulous cardboard kitchen sink tap) which also captivate the audience; those unfamiliar with Singaporean culture will learn plenty while others will enjoy the relatability in many points. As for cardboard, you'll never look at it the same humble way again.
Siapa Yang Bawa Melayu Aku Pergi? brings Singaporean Diversity to London
JOY MUHAMMAD, AUGUST 2019
'I know some of you look at me and don’t think I’m Singaporean'
Not often in London, let alone the UK do we get many South East Asian productions gracing our theatres (and no, Miss Saigon doesn’t count). Singaporean Theatre company Ruyung's latest work in progress showcase of Siapa Yang Bawa Melayu Aku Pergi? ('Who Took my Malay Away?') proved to be a fine gem, marking Singapore's 54th year of independence.
Running at just under an hour, the audience was introduced to a Singapore that Hollywood failed to portray in that movie, y'know the one with Crazy Rich Asians. Main actor Faizal Abdullah is not drenched in Dolce & Gabbana attire. He does not possess slicked back flowing locks and a glowing white complexion. Neither is he ready to play matrimonial mah jong. He is tanned, barefoot and clad in a far more unique outfit - a gold coloured Baju Melayu which is a traditional two piece Malay outfit adorned with a chequered sarong. His curly hair is topped by a songkok, a black rectangular Muslim prayer cap. He stands amidst a stage full of aged papers strewn on the floor with Arabic characters written on them.
'I know some of you look at me and don’t think I’m Singaporean', affirms Faizal, acknowledging the lack of ethnic diversity portrayed in mainstream media about his home country, which has often been viewed as a mini China particularly in Western countries. Faizal is Malay, one of the main ethnic groups alongside Chinese, Indian and Eurasian communities that make up Singapore's multicultural background.
He explains the Malay roots of Singapore, formerly part of neighbouring country Malaysia before moving onto it's history. From the colonisation of a 'sleepy fishing village' which progressed to one of the most richest port cities in the world, it's hard pressed not to be proud. But despite the financial success, Faizal and many other Singaporeans feel that the country itself is losing valuable parts of its culture.
'What is the Malay identity?' he asks 'Is it the art, the social customs or the culture?'
The audience is launched into an interactive lesson of the ancient Malay alphabet, Jawi, which is Malay linguistics in Arabic scripture. The importance of this exercise is to reacquaint a language which is rapidly in demise. Partaking in the activity seems to bring it back to life, as a flurry of temporary students work together to appreciate it's structure. Faizal later changes his Malay traditional wear into western attire highlighting the significance of how losing the culture of one's identity leads to more serious issues such as institutionalised racism. He closes the play in bittersweet tones, singing his national anthem which is about citizens working together to bring happiness to their nation.
The play is a short but insightful introduction to Malay culture. I look forward to seeing more from the likes of Ruyung and themselves which will hopefully will be the much needed start of British audiences discovering more aspects of East Asian communities.
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