Categories
Review Singapore Theatre

Rant and Rave: A History Lesson

Singaporean theatre has evolved through the decades, much of it I was never involved in, not being born early enough. Not that it makes any difference to my enjoyment of The Finger Players’ “Rant and Rave”.

Running for 90 mins, and broken into 3 broad segments, the show gives a succinct recap of the formative 80s, the tumultuous 90s and the transformational 20th century of Singaporean theatre. Played by 2 amazing actresses, Arts NMP Janice Koh and veteran Karen Tan, both seamlessly weaving in and out of characters, with some characters played with such accuracy it brought a smile to my face the moment the character first appeared. I have to point out that Karen’s portrayal of Alvin Tan (Co-founder, The Necessary Stage) was so spot on that many members of the audience were heard giggling.

The one segment that I felt really strongly about was Arts and the Media. There are many times when I find that much of the arts community have this innate sense of martyrdom, and that they are quick to jump against what they perceive as injustice dealt to them, especially by the media. A recent memory was that of Straits Times Life! writer John Lui’s article where he commented about Ilo Ilo not going to be a box office hit in Singapore, despite all the winnings at various international award shows. So many theatre folks on my Facebook timeline went up in arms, calling Lui a fraud, a disgrace and whatever they can think of. The only thought I had at the point in time was, it’s just his opinion. Right or wrong, that’s up to the reader to determine. The industry complains so much about the government thinking that Singaporeans are stupid and not able to think for themselves, yet this incident shows that they don’t even believe Singaporeans are able to think for themselves and judge if an article has its merits or not.

Watching “Rant and Rave”, I feel really sorry for the art critics who are bashed, judged and scorned for their opinion piece. How can the practitioners expect their audience to have an open mind, if they themselves are not willing to give their audience some credit for having a mind of their own. I also do not believe in a comment that was made by a practitioner that basically judged theatre reviewers for their lack of understanding of the process of putting up a production. Why should they need to have that background or experience? Art is about what it means to the viewer, less so about what the director or scriptwriter wants to force down the audience’s throats. The reviewer’s job is to take his experience and put it into context for the person reading his article. A review is, in its very nature, subjective. The very nature of theatre is also the life it takes on its own, sometimes contrary to what the creator’s message really was. Different aspects of the same show will appeal and stand out to different people, and that has always been what makes theatre truly magical. Maybe, instead of snarling at the reviewers, we can take a step back and see how our works have been interpreted, and seek to understand the rationale behind the interpretation. It could even bring a whole new perspective to the show.

In any case, we have only been growing the arts scene for 30 years, I believe it is still too early to demand for maturity in all aspects. And that includes the arts practitioners, the critics, as well as the audience. All the major arts and cultural hubs around the world have had the vast history and more than half a century’s worth of evolution as their foundation and backbone. I also believe that all the challenges that the arts community currently face, will simply become fodder to continuously feed the public as we grow beyond fulfilling our basic needs of food and shelter, and seeking nourishment of the mind and soul.

“Rant and Rave” is on for one last show tomorrow afternoon as part of Esplanade The Studios Season 2014, and I recommend everyone to go catch it while you can.

Categories
Music Musings

X: Psychedelic Violence Crime of Visual Shock

I’ve been counting anniversaries a lot this year. 2014 is the 15th year since I’ve fallen in love with the band that changed my perspective, X-JAPAN.

Thinking back, there are many firsts that I can count that are related to X.

  • ‘Forever Love’ was the first song I downloaded from mIRC
  • First MV I searched for to watch was ‘Endless Rain’
  • First time I went to watch a movie (Windstruck) solely because of the ending song ‘Tears’
  • First celebrity that I researched online to find out about their history
  • First time I wrote to the radio station’s Japanese music program to request for a X special, and sending them all my research (I almost went on air as a guest, but I chickened out)
  • ‘Forever Love’ was the first song I tried to memorise the lyrics for by searching for the romanisation
  • Their ‘Perfect Best’ CD box set was also the first, and only, box set I have.

When I bought the ‘Perfect Best’ box set, I played it so often that I could memorise the order of the song, and I could recognize the song just from the opening few lines of music. The 2 CDs, together with Luna Sea’s compilation album, were always in my CD booklet that I carried around. I was always plugged into my Walkman and secretly hated meeting a classmate on the way to & from school, because I had to pause the music and socialize.

I’ve talked about X before, and even till now, I’m still impressed at the amount of strength & determination that is inside someone so seemingly vulnerable as yoshiki. Someone who is soft spoken, loves to giggle, and is so polite that he finds it hard to reject if you ask him more than once. Even when he gets mad, he’s adorable. But when it comes to music, the focus and the perfectionism shines through the roof. It was the most obvious when they were in the midst of their fifth, and what turned out to be the final, album “Dahlia”. The album took 3 years to write, record and produce, because yoshiki was tweaking it so much.

Enough about yoshiki. Even though yoshiki is definitely the soul of X, I love the band, not just him. Their creativity and songwriting skills were impressive, as well as their arrangement capabilities. I was 16 when I first listened to ‘Forever Love’ and toshi’s voice is nasal yet not annoyingly so, and the music was just enchanting. I was totally caught up in the melody, picturing it with the manga I was reading. X-1999 by CLAMP was what introduced me to X, if anyone really wants to know. It was the first time I realised how powerful music really is, the ability to pull you into a scenario and fire your imagination and emotions. It also struck me how important the vocalist / the voice really is. I didn’t understand the lyrics, didn’t know what it meant, but toshi’s voice matched the music so well, it’s like an instrument in itself, part of the entire arrangement. It was the first time that I realised that lyrics is not everything. You do not need lyrics to feel the emotions and message of a song, if it’s well written. This also set the foundation of my music taste till now.

The variety of music that they write is also another defining factor. Their styles range from various styles of metal, to classical, to acoustic, collaborations with philharmonic orchestras, purely piano ballads; it’s just simply amazing the range that they display. The tempo changes drastically mid-song in ‘Silent Jealousy’ and ‘Kurenai’; including even a short excerpt of ‘Swan Lake’ in ‘Silent Jealousy’.. They released a 30 min long single with one song, ‘Art of Life’, a song which brings you through various emotions

But what I really truly love about them, is that they are rebels. True rebels through and through. Why else would you persist in this pioneering road of visual kei in conservative Japan? KISS is acceptable, but only because they are gaijin, or foreigners. X is not. They are true blue Japanese. All that dressing up as Victorian chicks with long wavy hair and copious amounts of make-up was simply unfathomable to the Japanese, especially the media. But still, they sold albums. Amid all the hate, they sold tens of millions of albums, leaving those Japanese press with no choice but to grant them interviews. No major label wanted them, so they released their albums as an independent label. And they still sold albums. They write songs about sex and death and other taboo / unorthodox topics that were touchy in Japan. Yet they still sold albums.

I’m still waiting for the day I get to see them in Singapore. L’arc-en-ciel has been here. Luna Sea has been here. When will it be X? Every time I remember the Taiwan concert I went to, the emotions I felt when I was shouting WE ARE X!… I just wish I get to see them again, soon!

p/s. This post is posted today, because it is hide’s death anniversary today.