Breathing new life into Peranakan theatre with diversity, heart, and joy.

Over the years, various aspects of Peranakan culture have entered the public consciousness again, thanks to television shows like The Little Nyonya, or the emergence of the Peranakan Museum, alongside intensive marketing campaigns. All of this has led to its renewed popularity, from the prevalence of Peranakan tiles, reimagining the nyonya kebaya in contemporary fashion, or a boom in Peranakan cuisine or Peranakan-inspired dishes. But if it’s one thing that has yet to enter the mainstream, it’s Wayang Peranakan, or Peranakan theatre.

Part of the reason for this is perhaps the unique language of Bahasa Melayu Baba that’s often used throughout the entire play, mixing Bahasa Melayu with smatterings of Hokkien. They say that to truly learn about a culture, the entry point lies in its language, and purists believe that for a play to truly be considered Peranakan theatre, the work would use the language throughout. Thus as less and less people speak it, the art form begins to die alongside it.

But if we free our minds from strict rules and that Peranakan theatre has to be produced by Peranakans, for Peranakans, then perhaps it allows more leeway to develop work for a new generation, and find a more accessible entry point to ensure its continuity. To kickstart that process, Esplanade – Theatres on the Bay engaged director Alvin Tan and playwright/transcreator Zulfadli ‘Big’ Rashid to produce a new version of the late Felix Chia’s play Mari Kita Main Wayang (Let’s Stage A Play), updating it for a modern audience while staying true to Chia’s original themes and concerns.

The play-within-a-play follows a group of Peranakans looking to stage an original play, Empat Bini (Four Wives), a faux historical play that imagines a Peranakan king ruling over a small island nation. As he tries and fails to produce a male heir, his desperation mixes with his lechery, and he begins to take on more and more wives, and his first wife begins to hatch a plan to protect herself and her offspring. Outside of the play, the group raise pertinent questions with regards to themes and presentation, while also navigating the relationships they share with each other, ensuring the peace is kept.

The idea behind Mari Kita Main Wayang is deceptively simple, but what makes the play such a success is its meta-commentary on the Peranakan community itself, brought out through humour and earnest performances from the entire cast. The Peranakans have always been stereotyped as having dominant, fiery personalities, and these come out in full in the play, often unafraid to speak their thoughts, yet never out of bitterness, and always out of genuine curiosity or a belief in their stand, whether it’s passing commentary on the presentation of women in Empat Bini, or discomfort from more intimate scenes.

In terms of its staging, the play is initially realist, taking place in the living room of a shophouse apartment, complete with antique wooden furniture and iconic windows. But as it goes on, it begins to become increasingly abstract, adopting elements of Brecht’s Epic Theatre, opening up the stage to reveal the wings and structures. While one may think it breaks the illusion, that has never been Mari Kita Main Wayang’s goal, instead precisely to make us question the construction of a play and all the backstage drama that goes into it. In fact, by seeing the elaborate thrones or beds, the almost jungle-like mass of plants meant to represent the royal gardens, one appreciates the sheer effort that goes into putting on a theatre production, and allows the actors to transition more smoothly between being in-character and breaking it when expressing discomfort. The elaborate costumes by Max Tan change ever so slightly in each scene while maintaining the same vivid patterns and colour combination, showcasing how Peranakan-inspired clothing goes beyond sarong kebayas alone.

If anything, Big’s revised script also ensures that Chia’s writing flows well, and feels light enough for the whole family to appreciate and follow. You find yourself smiling throughout with the cast’s camaraderie and determination to make the play the best version it can be, with a few cheeky moments thrown in, be it in reference to character names, or their own enjoyment just being onstage and letting loose with their larger-than-life characters. Karen Tan feels like a wise mother figure both as first wife Nyonya Chinkadok, and as producer Molly, dispensing advice to the younger actors and acting as a middle ground between generations.

Meanwhile, Loong Seng Onn delights as the lecherous Raja Cheekopak, leaning into the character’s innate lust and simplistic view of being a ruler, while Frederick Soh does a good job of playing the hapless Prime Minister whose advice continues to fall on deaf ears. Cynthia Lee is a formidable right-wing woman to Nyonya Chinkadok, offering counsel and helping plot, and all three other wives, played by Masturah Oli, Munah Bagharib and Kimberly Chan, bring a younger energy to the stage, hungry for the limelight and giving it their all, or learning to come out of their shell to shine. With the diversity in casting, the three younger actors also represent the wide range of Peranakans to exist beyond Chinese Peranakans, breaking stereotype.

Perhaps most significant of all is the chance to see Peranakan theatre legend and female impersonator G.T. Lye performing onstage once again, who garners applause from the audience the moment he steps out and performs. Taking on the role of imposing Peranakan matriarch Kechoot, Lye’s character represents an older generation of Peranakan theatremakers, mostly stuck in certain mindsets before accepting that the times are changing. In the play, Kechoot is relegated to a stage manager role and while initially miffed, realises that her time in the spotlight is over, and softens over the course of the play.

G.T. Lye also plays an all-important educational role, where between scenes, is given the entire stage to himself as he lectures us on Peranakan culture, from the history of Peranakan theatre, to Peranakan kueh, to even superstitions and taboos in the culture. Each of these scenes is accompanied by an original song he sings, co-composed with music director Julian Wong, endearing us even further, while the lyrics flash onscreen to aid our understanding. Band leader Riduan Zalani leads the live band not just in these scenes, but throughout the play to better create a sense of atmosphere in this ancient, pseuodo-Singapura.

Watching the play come to life from start to end, you see the growth of each character, exuding earnestness and a genuine sense of community in wanting to make Peranakan theatre great again. It is simple, yet you find yourself drawn in to the entire production, from the set, to costumes, to music to sensibilities. Authentically Peranakan from start to end, yet oddly refreshing and emanating a feeling of warmth, it is ultimately empowering and triumphant to see this motley crew overcome the odds and reach the end.

For a culture to be preserved, its artefacts cannot exist in warehouses, museums and memory alone. There are times it has to be taken out, dusted off, and re-presented to new audiences, taking the time to educate and expand its reach, to not only survive but to thrive in the hearts and minds of a greater community. As the cast ends off singing ‘Rasa Sayang’, you hear the audience joining in and clapping along, joyous and feeling the love spread throughout the theatre. This is what Peranakan theatre is capable of, and one only hopes that with Mari Kita Main Wayang, it marks a step in the right direction towards reviving the art form for a new generation, an invitation from the community to come learn more, and to appreciate all the nuances and layers of such a rich culture.

Photos by Crispian Chan, courtesy of Esplanade – Theatres on the Bay

Mari Kita Main Wayang played from 17th to 19th November 2023 at the Singtel Waterfront Theatre. More information available here

Production Credits:

Director: Alvin Tan Assistant Director: Aidli ‘Alin’ Mosbit Playwright (Original script): Felix Chia Playwright (Transcreation/Adaptation): Zulfadli Rashid Cast: G.T. Lye, Cynthia Lee, Frederick Soh, Karen Tan, Kimberly Chan, Loong Seng Onn, Masturah Oli, Munah Bagharib Musicians: Ahmad Shahruddin Bin Safari, Azrin Abdullah, Hafiz Jamat, Ismahairie Putra Ishak, Julian Wong, Riduan Zalani (Band Leader) Producer: Michele Lim Peranakan Consultant: G.T. Lye Peranakan Translation & Language Coaching: Melanie Wee, Rapheal Koh English Translation: Suhana Laila Set Design: Wong Chee Wai Lighting Design: Petrina Dawn Tan Costume Design: Max Tan Hair and Make Up Design: Sha Shamsi Music Director and Arranger: Julian Wong Sound Engineer: Shah Tahir Props Master: Loo An Ni Multimedia Design: M. Nurfadli Jasni Choreographer: Richard Tan Production Manager: Lam Dan Fong (The Backstage Affair) Stage Manager: Caroline Ruth Liew (The Backstage Affair) Technical Manager: Kailash Wardrobe Manager: Theresa Chan Band Manager: Hamzah Abdul Hamid Surtitle Operator: Nurul Jannah Jamaludin Production Coordinator: Georgia Sim (The Backstage Affair) Headgear Designer: Wong Wai Toh Key Hair Stylist LEONG