What they (and we didn't expect) was that all of them (and us) were forced to confront some of the very issues of what it means to be a Singaporean.
The entire story revolved around the mother (played by Neo Swee Lin), her five kids, one son-in-law and a sudden unexpected visitor in the form of a Peidu Mama from China whom she initially mistook to be one of her sons' girl friend but is in actual fact her husband's newly-pregnant mistress; a fact she discovers dramatically towards the end of the two part play.
The first part was rather political (very Alfian), which to some people was a bit over the top. But if you stop to consider the characters and the reasons why they left Singapore, it would become clear that these reasons would still be there when they come back. Hence, it would be natural for it to be sprouted in the bed rooms or the dinner table of a soon-to-be claustrophobic household. Perhaps (according to some of my friends) it could have been given a more complete airing as opposed to short snippets of discussions here and there which kind of left some of the issues not fully addressed. I guess the constraint here would be time.
But the one thing I liked about this aspect was the role of Cindy, the Peidu Mama from China who presented a different set of views about Singapore, Lee Kuan Yew and the pros of living here. Not so much in an ass-kissing sort of way, but from the perspective of someone foreign and used to a country where things don't work quite that efficiently. Here you have a bunch of Singaporeans griping (about legitimate issues and complaints of course :-)) and then you have this wide-eyed young woman from China who tells them that Singapore isn't quite that bad at all.
The second part was supposed to be much longer, but to me, it seemed shorter than the first part. I guess it was because the human drama of the family on the verge of crisis kicked into high gear and really engaged me. This is when the chemistry of the entire cast really kicked in. And they shone. Heck, I was really impressed.
But I have to really take off my hat to two of them: Remesh Panicker who plays the Indian son-in-law Manooj and Neo Swee Lin who plays the mother and who made me cry at the last part.
Remesh has this ability to "don't-have-to-act" (using Ezra's words) to act. Meaning, this guy doesn't need to act, he just... I don't know... delivers the role without putting on too much of an effort. The way he speaks, delivers his lines and create the character is so effortless that it looks too easy and hence is all the more remarkable and impressive.
Then you have Swee Lin whom seems to specialise in playing motherly roles. But in this play, she was really good. I mean come on, she made me cry, which is quite difficult if you know me. I don't really know why my lachrymal glands were triggered by her mother-on-Peranakan-power-trip at the last part of the play, but I guess it was because I see my mom in her. I don't mean my mom went through the exact same trauma as her, but you know, all the frustrations, tears and sacrifices of a woman who gave up so much to raise her family that erupted at the last part brought out my mother in her. Of course it helped that her role and my mom are both Peranakan. But to give you a clue on how strong her effect was, I couldn't speak after the play ended. When my friend asked me what it was that affected me, I had to catch my breath before telling him to wait because I couldn't answer without crying. Wow...
Lim Kay Siu was funny and engaging as the fey but straight professor in a British university with his own lies and charade. However I did find his hamming-it-up a bit over the top. He could have tone it down a bit, but I guess he was having a ball of a time and really wanted to let it rip.
Then there was Chermaine Ang who did a great job as Cindy the Peidu Mama whose son predeceased her. Her research into the role up to imitating the accent of a woman from Beijing really showed. Actually all of them really did a great job. There were no divas and everyone worked as part a well-oiled team. And when I read their profiles on the programme sheet, I was impressed - lots of BA and one (or is it two?) Masters in theatre related studies. These guys are experienced professionals and it shows.
And then finally, the script has to be complimented as well. Alfian who wrote it did a great job in fleshing out the characters and story line. And it was that night when I understood why my friend (who acted in the play) commented on the playwright's brilliance and ability in giving so many facets to the characters. All of them spoke to every one of us in the audience, and all the children reflected almost each and every frustrations of being a Singaporean in Singapore. I think the great thing about it was the human-ness of the characters - all their flaws, agendas and ugliness reflected us as well. And I guess some of us did flinch at some of the portrayals.
At the end of it, though some may find the treatment on some of the political issues of being a Singaporean a bit too much, I felt that it could have been addressed even more. But that would mean that the play may have to be stretched longer. And I am not sure if the actors are going to stand for that since the director Jonathan Lim has done it in a very Dogville style where everyone had to stay on stage; no toilet or smoke breaks in between, except for the 15 minutes interval.
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