Furthest North Deepest South
Went to watch 'Furthest North Deepest South' by Finger Players today at the esplanade theatre studios.
The story is about Cheng Ho, a great admiral during Zhu Di's (Zhu Emperor) reign during the Ming Dynasty of China. He was a enunch, but also the engineer of many great expeditions to corners of the world, places where people considered very far and impossible to reach during those technologically backward times. The play was written by Chong Tze Chien, based on the book '1421: The year China discovered the world'
I would have to say the play was extremely well written. The story, though looking simple is actually a multi-layered play not only about the life of Cheng Ho, but more on identity, relationships, restraint of freedom and will. Its lines were well written, switching between humour and meaning effortlessly. Cheng Ho is a enunch, one that court officials despise yet is capable of great things, restricted by the fact that he is a enunch. He yearns to be free from the wishes of other people, yet imprisoned by his friendship with Zhu Di as well as his own wishes to regain the physical thing that all enunchs lack, the penis.
One could well draw parallels from between the story of Cheng Ho and the current world situation today. The play then becomes relevant and up to date. Not too distant
The music and sounds were awesome and impressive.The set design and prop usage was very well thought out, with one object being treated as different things at different times. Also, the lighting design was fantastic, giving the effects that needed to be brought together with the story to the audience. Green, blue and red light was very well used and blended. Of course, there is the staple white and orange lights.
Puppets were designed properly and also acheiving the aim of being on stage with the real life actors. The cast was strong and charismatic. Fanny Kee (Cheng Ho) and Sim Pern Yau (Zhu Di) convincingly brought the audience bach to the 1400s, using great rhythm when delivering the lines and strong body language when appropriate. Director Christina Sergeant must be credited for her strong direction, clearly bringing the taste of the story across to the audience. The supporting cast was animating, complementing the two protangonists seriousness very well
I must say I am enthralled by the production, everything from the intriguing story to the beautiful sets and puppets to the charismatic cast.
This indeed deserves the title of Best Production ( 5th LTA) It is the best theatre production I have watched in years, since Li Xie's 'Vaginalogue'
The night was however, spoiled by a huge bunch (90% of audience) of stupid schoolboys who talked during the show, though not as bad as schoolgirls (because the theatre people watching). But they too, laughed at anything and everything, including the word 'penis'
I wished I could have run to the furthest north and the deepest south from these dumb school children.
Haha
The story is about Cheng Ho, a great admiral during Zhu Di's (Zhu Emperor) reign during the Ming Dynasty of China. He was a enunch, but also the engineer of many great expeditions to corners of the world, places where people considered very far and impossible to reach during those technologically backward times. The play was written by Chong Tze Chien, based on the book '1421: The year China discovered the world'
I would have to say the play was extremely well written. The story, though looking simple is actually a multi-layered play not only about the life of Cheng Ho, but more on identity, relationships, restraint of freedom and will. Its lines were well written, switching between humour and meaning effortlessly. Cheng Ho is a enunch, one that court officials despise yet is capable of great things, restricted by the fact that he is a enunch. He yearns to be free from the wishes of other people, yet imprisoned by his friendship with Zhu Di as well as his own wishes to regain the physical thing that all enunchs lack, the penis.
One could well draw parallels from between the story of Cheng Ho and the current world situation today. The play then becomes relevant and up to date. Not too distant
The music and sounds were awesome and impressive.The set design and prop usage was very well thought out, with one object being treated as different things at different times. Also, the lighting design was fantastic, giving the effects that needed to be brought together with the story to the audience. Green, blue and red light was very well used and blended. Of course, there is the staple white and orange lights.
Puppets were designed properly and also acheiving the aim of being on stage with the real life actors. The cast was strong and charismatic. Fanny Kee (Cheng Ho) and Sim Pern Yau (Zhu Di) convincingly brought the audience bach to the 1400s, using great rhythm when delivering the lines and strong body language when appropriate. Director Christina Sergeant must be credited for her strong direction, clearly bringing the taste of the story across to the audience. The supporting cast was animating, complementing the two protangonists seriousness very well
I must say I am enthralled by the production, everything from the intriguing story to the beautiful sets and puppets to the charismatic cast.
This indeed deserves the title of Best Production ( 5th LTA) It is the best theatre production I have watched in years, since Li Xie's 'Vaginalogue'
The night was however, spoiled by a huge bunch (90% of audience) of stupid schoolboys who talked during the show, though not as bad as schoolgirls (because the theatre people watching). But they too, laughed at anything and everything, including the word 'penis'
I wished I could have run to the furthest north and the deepest south from these dumb school children.
Haha
posted by Kian Tong at 11:53 PM
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