>lanterns by the necessary stage

>reviewed by musa fazal

>date: 13 mar 2003
>time: 8pm
>venue:the university cultural centre
>rating: ****

>tired already? go home then
>review junkie? whitney, give them this click to sniff

                           
>look, we know that you need to know that we, as responsible reviewers, have some quantifiable categories to rate productions, and are not just relying on some undefinable instinct or gut feeling. So to put your mind at ease, we will give you a logical rating system based on the practitioner's vision / and the reviewer's response of a particular production. Here it is then: ***** : Transcendent / Rapturous. ****: Crystal / Appreciative. ***: Transmitted / Thoughtful. **:Vague / Unsatisfied. * : Uncommunicated / Mystified. Yet in the end, you will feel that this is (1) a cheap attempt to justify the subjective arbitrariness of our rating system (2) buttressed by an interest in the logical (and inevitable) categorisation of such productions, which is (3) undermined by the cheapness of the attempt, and (4) confused by the creeping feeling you are getting that we are dead serious in our feeling that this rating system is an accurate description of the content, intent and quality of the production. Oh please -- does it even matter now? Look, at least we tried.


>>>>>RAGE, RAGE AGAINST THE DYING OF THE LIGHT

Inspired by Haresh Sharma's acclaimed 'Lanterns Never Go Out', this latest offering by The Necessary Stage for the M1 Youth Connection festival is a must-watch hit.

Directed by Natalie Hennedige, and devised with the help of a stellar cast, LANTERNS scores because it manages to capture adolescent rage in all its turbulent glory. The central story of an 18-year old girl, Kah Wei, and her relationships with her family and friends, is interspersed with short MTV-style skits of kids clowning around with wild abandon, revealing to each other their fears, hopes and dreams, filtered through the warped eyes of youth.

Serena Ho plays Kah Wei, a girl with a helluva attitude problem - she hits her mother, bullies her gay brother, and threatens to blow up everything, from Changi Airport to Parliament House. In a dramatic opening scene, Kah Wei struts onto stage with a mask and a gun, picks up a cheeseburger, chews, then spits it out, and stares at the audience throughout with a discomforting defiance in her eye. This sets the stage for a character determined to reject everything around her: family, responsibility, love.

Patricia Mok plays Kah Wei's widowed mother and manages impressively to portray her scenes with a heartwrenching sensitivity, without losing her sharp comic edge in the process. T T Dhavamanni plays a taxi driver with the strange fortune of picking up a suicidal Kah Wei and her distraught mother. He has some of the best lines in the play, including one where he talks of fighting discrimination against Indians by lighting himself with kerosene and running across Chinatown singing Happy Deepavali.

>>'A play with a clear target audience in mind, and, judging from the response of the uniform-clad students around me, this hip, irreverent play hit the mark'


Weakest perhaps was Paerin Choa's portrayal of a gay brother, done in such a stereotypical manner, that in the follow-up feedback session I attended, members of the audience were provoked into questioning the production team on the merits of the "gay-bashing" scenes (hardly likely, one thinks, for gay-bashing to have been intended by TNS).

What is clear is that in watching the repeated acts of violence onstage, the repeated swearing, the repeated use of that rebellious phrase "So?", any youth hell-bent on being unreasonable in the face of an unreasonable world, might actually sense the absurdity of her behaviour.

Best of all, Hennedige manages to get this message across without being didactic. Partly because the play ends with Kah Wei in circumstances no different than those she was in at the very beginning. She threatens to move out of the family HDB, and even goes as far as looking through the classifieds, but never actually leaves. In a rare attempt to reach out to someone, she kisses her best friend, only to be rejected. The play ends with Kah Wei, in a mock trial, accused by all around her, unable to respond with anything stronger than a cough. There are no preachy morals, no neat resolutions to the dysfunctional relationships. Yet the story does end with a light hint of optimism. Seated beside her brother in something of a truce, Kah Wei's mother comes over and pats her gently saying: "You all two go and sleep, hor. Tomorrow everything will be ok." Nice.


There were bits the play could have done without. Christina Aguilera as an opening song was lame. And the mini-lanterns, which only made a brief cameo appearance in the opening scene, (clearly leftovers from someone's Chinese New Year decorations) were also unnecessary.

But then, perhaps, Aguilera is a songstress and icon for a younger generation than mine. This was a play with a clear target audience in mind, and, judging from the response of the uniform-clad students around me, this hip, irreverent play hit the mark. A triumph for Hennedige.

If you missed the performance, fret not. Copies of the script are available from TNS and, for good measure, you might just want to get yourself a copy of Sharma's original classic as well. Recommended reading for all schools.

Go below to write in your comments or to read other comments about this performance!

Readers' Comments


From: The Editor (matthewlyon@myway.com / Saturday, March 22, 2003 at 02:34:27)

Got anything to say about the review or the production? Click the button above and let us know.

From: angster (delvingdeeper@hotmail.com / Saturday, March 22, 2003 at 03:03:35)

I beg to differ. I didn't think it was that good a show. Though i had to agree that the acting was pretty good. What's the use of calling it "lanterns" when the only time we do see lanterns are in the opening scene, and it was an unnecessary inclusion. Perhaps it might appeal to a young audience, but to a more discerning audience the play didn't say anything ultimately. Just my two cents worth.

From: Sher (sherun25@yahoo.com / Sunday, March 23, 2003 at 02:23:31)

Dear Angster, I do hope you elaborate more on why you didn't like the play. I do not know whether to take your comments questioning the title of the play, when the only time Lanterns were seen on stage was when it was unnecessarily(no pun intended) inlcuded in the first scene. I would think that theatre audiences are smarter than to take everthing so literally...or else they'd be very dissapointed. If I am not mistaken, there are no crucibles in Arthur Miller's The Crucible. Just one of many examples that one could think of. As a diescerning adult member of the audience, I find that the play says a lot...the only thing about it is that while it is in your face and confrontational, the play says a lot by not saying it in your face, by being didactic and moralistic. It says a lot from what I can infer from the semiotics (errgghh, i hate using this word) of the performance...What I'm saying is that with Lanterns, one's own experiences influences one's reading of the play and in creating a meaning for one's self. Even if one does not have the experience to 'read' and 'create', there are some elements that one can make sense of and 'get' what the play 'says'. But then again, nowadays...who says a play has to say anything? 2 more cents in the inkpot. Sher

From: angster (art01418@nus.edu.sg / Sunday, March 23, 2003 at 02:49:56)

Maybe for me i like plays that say something... Maybe i wasn't a rebellious teen with lots of issues thus the play didnt touch me. Im not saying the play was really bad, just saying that four stars was a trifle too much in my opinion. As for the title thing, hmm the play didnt use or touch on the image of the lanterns at all. And as for The Crucible, well yes there were no crucibles used, but it refer to the heat and the burning process that those villagers of Salem who didnt gave in to the hysteria, in particular John Proctor, went through and came out refined and purified, even if some had to perish in the fire. I guess to each his own, won't the world be a much boring place if all of us had to share the same viewpoints? And i must stress again, the actors were good. So i guess this is my four cents worth now.

From: Sher (sherun25@yahoo.com / Sunday, March 23, 2003 at 12:25:07)

Yes, I do agree that we are all entitled to our own viewpoints. Just thought that the title thing was a far out for saying that the play wasn't good. Also, I think there is the image of the lantern in the play if one paid enough attention. And haha, I see that you've got the classic cliff notes interpretation of The Crucible pat down. Reminds me of my secondary school days. Anyway, I also feel that four stars might be a tad too generous on the reviewer's part. More cents.

From: Musa (musafazal@hotmail.com / Monday, March 24, 2003 at 10:57:14)

I didn't like the physical lanterns because i thought a lot of effort probably went into stringing them up, and it didn't add anything to the performance for me. The metaphor of lanterns was sufficient to provoke me into probing some of the underlying messages of the play. No need for the actual things to be there (i mean everyone knows what a lantern looks like). I think there was a much stronger message of hope in Haresh's original - hence lanterns *never go out*. This play, much less, so they took out the never go out bit. But as i wrote in my review, i still saw a light shade of optimism, though perhaps i was looking for it, being something of an optimist myself. I thought predominantly these lanterns were about rage, seething anger burning beneath the surface. Were it not for the fact that this play needed to pay homage to Haresh for borrowing the character Kah Wei, I would have thought a more appropriate title for this play would have been 'BlowTorch'.

From: Ed (iconoclasticbitch@yahoo.com / Thursday, March 27, 2003 at 15:58:02)

Heh, sounds like "Fireface".

From: ano (sound79@singnet.com.sg / Friday, April 11, 2003 at 05:04:29)

hi, i watched the play and i felt abit disturbed by it. I did not like the show because i felt the characters were very two dimensional, stereotypical even... maybe it was intended, or maybe the emphasis was put on devising the structure that the characters were compensated. But i think the characters were important as they convey a message to the students who were there for the show. They should relate to the characters. However, we were not allowed to dwell any deeper into them and hence have to accept the flatter version of it. There were lots of screaming and shouting, sometimes seemingly unnecessary. Perhaps it was to drive a point across, which we got it after 3 scenes of screaming and shouting...or maybe to create an "audible environment"? I am not sure but it was irritating, and it portrays a very two dimentional character again... angry/angst - shout and scream (non-stop)... sad/sorrow - cry and sob... it just appear so to me, the character development stops there... And it hit me very strongly at the end that it did not end off conclusively. An adult can understand the "open-endedness" of the ending... but if i am not wrong, the show is targetted at students, adolescence... and the ending somewhat still encourage a certain "rebel is correct" feel... Having a public responsibility doing a theatre piece...hmmmm.... unless u are telling me that the production was done for self-indulgence sake. Personally, i liked two scenes 1) the box scene where they kept singing the indian song (was quite cleverly done); 2) the bunch of youngsters playing the cd and going into a fantasy like frenzy and back (liked the decadence)... on another note i feel ansgter do have a point - must audience go in to decode the way you want them to? i dun think so... we don't necessarily think the same way unless blatantly told so... so if things are wrapped up in layers and we don't get it in the end, it is not the audience fault, we tried. We didn't go through the devise process so we are here to experience the product of it. We do not have the responsibility to see things from the production's point of view. On the whole, was a fresh approach but could have gone deeper into the issue... peace

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