Deonn Yang rises to the occasion and comes into her own in this heartfelt play about forgiveness and family.

As much as we hold the concept of family in high regard in Singapore, family has also always been a complex affair. Amidst the comfort family brings, there is almost always the pressure of ensuring that we do the best we can for them, lest we disappoint them in some way. And when we do fail, there is even more shame that fills us for fear that this will be the one thing that breaks it once and for all – for if your own family no longer loves you, then who else is there to turn to?

The Necessary Stage (TNS) Associate Artist Deonn Yang understands this complexity all too well, and taking on the dual role of both director and playwright, presents these themes with poignancy and heart in White, All White. First presented as a dramatised reading during Playwrights’ Cove in 2022, White, All White follows a family of women living under one roof, led by single mother Shi Hui (Koh Wan Ching) who works an administrative job in a school by day, and is essentially the matriarch of the household. Her mother (Goh Guat Kian) is a widower, but cheery, spending most of her days at home with a smile on her face, while her teenage daughter Genevieve (Coco Wang) studies film at a polytechnic, working part-time at an ice cream shop for extra cash.

The three women lead simple but stable lives, never really dreaming big, especially considering their humble financial status. But one day, during their regular video call with Shi Hui’s sister Shi Min (Jodi Chan) living overseas with her partner, she apologises for not being able to come home for a visit over the last few years, and instead suggests that the three of them fly up to meet her in Vancouver instead. While her mother and daughter rejoice, Si Hui panics when she thinks of the cost, refusing to take her sister’s money, and wondering how exactly they can find a reasonable solution to it all.

It is interesting how White, All White touches on one of the most seemingly taboo topics in Singapore – money, and how it has the potential to tear a family apart. It is a play that is likely to strike a chord with many audience members, with the rising cost of living, and especially with anyone who’s ever been in a difficult financial position, seeing others go on fancy holidays while they remain homebound, unable to even treat themselves to a nice dinner. It is crystal clear how sensitive the family is about money, and there are constant reminders of how everything comes at a price; early on, Genevieve asks to borrow $50 for a present for a friend, and promises to pay her mother back the moment her paycheck comes in. Later, a leak from the tenant living above sees Si Hui’s face scrunch up with worry, and she hopes that they can split the cost 50-50 with them. All these little incidents add up, and create a constant underlying tension that makes us worry for when this family’s finances will tip them over the edge.

Shi Hui’s story undoubtedly takes centrestage, where the crux of White, All White utilises the build-up of financial stress when Shi Hui goes on a free cruise with her colleague. With the lure of winning big at the onsite casino making her go against her better judgment, she loses it all and lands in debt. Unwilling to admit her mistake to the family, she tries to keep it a secret as long as possible, while the family continues to hype up and make plans for the trip, the pressure mounting more and more as we wonder when the truth will come out and everything will fall apart. It is Shi Hui’s erroneous belief that keeping her mistake a secret and handling the burden on her own is best that then acts as a further driving force for the show, refusal to let others worry that only worsens the tension. Yet this stubbornness is born not only out of ego, but also out of care and guilt for her mistakes. She is in no way a perfect protagonist, but with Deonn’s refreshingly naturalistic writing, Shi Hui is a character we recognise within ourselves, and knowing that we too are likely to make similar mistakes in the face of love and fear.

White, All White is also anchored by strong performances from the entire cast. As lead Shi Hui, Koh Wan Ching often showcases a look of worry on her face, whether with the realisation that her mother is facing dementia or beating herself up over her mistakes, and when she finally feels relief at the little wins she gets in life, we feel the same joy wash over us. Wan Ching does especially well in some of her more quiet moments, such as the regret she displays during flashbacks to the past where she almost goes through an out-of-body experience (with Coco playing her younger self), or the frustration she shows when fending off debt collectors or ringing phones.

Coco Wang also does a great job as daughter Genevieve, capturing her youthful energy while also encapsulating Gen Z’s can-do spirit, unafraid of anything and willing to chase her dreams. There is an easy likability to her character, and she shares very strong onstage chemistry with all three of her co-stars. Goh Guat Kian, as always, is a force to be reckoned with onstage, as a generally lovable grandmother, supportive and good natured, as she does her best to keep the family together, while also showcasing the rage of an Asian mother in a flashback to when Shi Min first announces her move to Canada. Guat Kian is also responsible for some of the most emotionally resonant moments in the play, such as when she stumbles across the stage during a momentary delusion that her husband is still alive while going through an episode of dementia, or the immense love she displays when she sits down with Shi Hui, all judgment aside.

And finally, Jodi Chan does incredible character work in White, All White playing a total of four different minor characters, each one clearly differentiated by their voice and physicality the moment she appears. As Shi Min, there is an air of calm and composure to her, always well-dressed in a blazer and pants, before she takes on a completely different tone when she appears as a debt collector at the family’s doorstep, quietly menacing even while polite. As the family’s neighbour below them, she adopts a faux Western accent that dials her voice up to grating levels as she complains about the water leak, while Jodi absolutely steals the show each time she appears as Shi Hui’s colleague Catherine, trying to become an influencer while stealing Shi Hui’s lunches, where everything right down to minor movements and reactions make her distinct.

Set designer Wong Chee Wai has opted to go for a realistic set, making full use of the space afforded by the Esplanade Theatre Studio with all three women having their own fully-furnished rooms, complete with wardrobes and beds and work tables that make it feel like we’re in an actual lived-in apartment. A raised platform at the back of the stage allows for Deonn to play with levels and differentiate the scenes that take place outside of the home as well. Emanorwatty Saleh’s lighting is precise, illuminating each scene exactly as necessary, while also shining a light on other rooms as well to allow us to see how other characters are getting on in their daily lives. Safuan Johari’s sound design is abstract and always matching the emotional beats of the show, elevating each moment to a high, especially in the powerful finale scene.

Stepping up to the plate as both playwright and director of a fully-fledged, professional show of her own making, Deonn Yang has truly come into her own as an artist with something to say, and the artistic vision to back it up. Supported by a very strong cast, White, All White turns our attention to the drama of the ordinary and everyday, and finds the beauty in a simple but effective story about family. There is enough creativity in Deonn’s approach to keep this play fresh, while the script brims with sincerity and realism that we relate to these characters on a fundamentally human level, fearing for them and crying over their resolution. White, All White ranks among the strongest new pieces of writing to emerge in 2024, capturing the essence of modern Singapore living and concerns, while also deeply moving in its presentation of family and the assurance that we will get through the toughest of times together, a piece of theatre that not only moves, but also heals.

Photo Credit: Tuckys Photography

White, All White played at the Esplanade Theatre Studio from 24th to 26th October 2024.

Production Credits:

Writer/Director Deonn Yang Cast Coco Wang, Goh Guat Kian, Jodi Chan, Koh Wan Ching Production Mentor Haresh Sharma Dramaturg Sindhura Kalidas Set Designer Wong Chee Wai Lighting Designer Emanorwatty Saleh Sound Designer Safuan Johari