Nine Years Theatre’s foray into children’s theatre tugs at the heartstrings and covers a sea of themes.

In the world of children’s theatre, a show often has to go beyond pure entertainment, to also include teachable moments and life lessons for its young audiences to take away. The quality of a children’s show then hinges on the execution of several core tenets, including the level of engagement and immersion, the cast’s performance itself, and how smoothly the educational value of a show has been integrated. This can be difficult to balance out for any company’s first time trying out children’s theatre, but if anything, Nine Years Theatre (NYT) has gotten off to a strong running start.

Written and directed by NYT Associate Director Cherilyn Woo, Phinny & Wally is a Mandarin children’s theatre production that follows a shy young dolphin (Phinny) and an extroverted, fun-loving Beluga whale (Wally) who learn to become friends with each other after a Wally discovers Phinny’s home. Set under the sea, while the show’s primary focus is on the theme of friendship, there are also strong environmental concerns that are raised and introduced to its audiences throughout the show, including a pre-show segment where facilitators contextualise some of the problems ocean inhabitants are facing, from plastic waste to increased presence of ships contributing to pollution.

Prior to the show, audiences were also invited to pick some plastic waste (in collaboration with Plastify) such as bottles and containers, which they brought into the theatre to represent our role as corals helping catch and clean these items in the sea. Entering the Drama Centre Black Box, the usual seats had been folded up and the entire space transformed into a colourful reef area, with bright circle mats with cushions on the floor indicating seating. In front of us, the main performance area featured a cosy set designed by Lim Weiling, with a dome that forms Phinny’s home. This was made primarily out of upcycled material as well, from CDs that glimmer as they reflect the light, to plastic bottle caps forming rock surfaces and formations.

Cherilyn is no stranger to directing children’s theatre, and there are clear attempts to keep the young audience engaged with various points of interaction during the show. As an adult coming in to watch the performance, the audience seemed quite enthusiastic and could follow along the instructions given, from performing a little three-step dance to push the waves, to simply responding to the actors when prompted, or even doin song and dance numbers. There are times it was evident that the younger audience members even wanted to get up and run to the actors, completely invested in what was happening before them, showing how engaging the show as a whole was, able to get their young viewers to become enraptured by the scenes and characters introduced to, kudos to Cherilyn’s writing and direction.

Compared to most children’s shows however, there was a much higher focus placed on the strength of the story at hand. In that regard, Phinny & Wally finds itself extremely ambitious for a show for young audiences, incorporating a deceptively simple story of friendship while touching on deeper themes. Clad in similar white-based sweaters and pants, with grey and pink tails respectively to indicate their character (designed by Audrey Tang), both actors Cheryl Ho and Ching Shu Yi showcase a child-like demeanour in their voice and physicality that brings both characters to life. On the surface, Phinny simply appears rather weird, almost painfully awkward and reticent to communicate with Wally, who is the polar opposite: hyperactive and loud.

But through a series of games, Phinny plucks up the courage to become vulnerable enough to open up to Wally, showcasing her collection of handmade ‘friends’ constructed from ocean waste, and revealing trauma from her past that informs us of why she behaves this way. To that end, Cheryl does an especially good job of switching up her character, losing the shyness to showcase a flurry of emotions born from grief and loss, lashing out and confused when her safety and comfort is under threat.

Ostensibly simple in its flow, Phinny & Wally is further enhanced by special effects, such as Emanorwatty Saleh’s spotlights that resemble trawlers illuminating ocean floors, or plastic bags blown up like balloons batted around the audience. This is a show that is incredibly ambitious in its sheer amount of content – there is mention of how dangerous ships can be, how the proliferation of plastic waste has forced ocean denizens to learn to live with it, and even a terrifying oil spill, feeling like a genuine threat when the entire space is transformed, with requisite sound effects by Lynette Quek.

Most important of all, even without surtitles, the audiences seemed to be able to follow the sequence of events, and as an adult audience member, felt a tug at the heartstrings each time Phinny almost overcomes her fears and gets closer to Wally, only to be held back by her own issues once again. Of course, this being a children’s show, there is a requisite happy ending to leave the children on a note of positivity and hope, and drives home the familiar lesson of the power of friendship, and stepping out of one’s comfort zone.

In entering the world of children’s theatre, NYT still keeps their philosophy of telling emotionally-charged, resonant stories a core part of their ethos. As child-friendly as Phinny & Wally is, the show has the capability of touching older family members in the audience as well, and reminds us of how difficult, yet how important it can be to move on from pain, even while still living in a world on fire. Ambitious in its themes and fun in its execution, Phinny & Wally feels like an original, sincere story that NYT genuinely wants to tell, and if this is anything to go by, spells good news for this new series the company is initiating with Cherilyn at its helm.

Credit: Tan Ngiap Heng, courtesy of Nine Years Theatre

Phinny & Wally plays from 27th July to 4th August 2024 at the Drama Centre Black Box. Tickets available from Peatix

Production Credits:

Playwright/Director Cherilyn Woo Cast Cheryl Ho, Ching Shu Yi Producer Mia Chee Script Translator Nelson Chia Set Designer Lim Weiling Lighting Designer Emanorwatty Saleh Costume Designer Audrey Tang Sound Designer Lynette Quek Theatre For Young Audience Specialist Ellison Tan Production Manager Celestine Wong Stage Manager Natalie Wong Rehearsal Stage Manager Tennie Su Assistant Stage Manager Cristabel Ng