Agony underneath confetti, this is a play that speaks of the universal pain we hide under a smile.

Growing up is never easy, and it often feels like we’re trapped in a world only we know, when no one else seems to understand the pains of adolescence. But for some, that pain mutates into something much more horrifying, with the spectre of mental health and depression looming just around the corner, making it an ideal topic covered by the new graduating batch of Singapore Repertory Theatre’s The Young Company, in A Super Happy Story (About Feeling Super Sad).

Written by Olivier Award-winner Jon Brittain with original music by Matthew Floyd Jones, the musical follows Sally (played by Liew Ai Wen, Chen Hui Hsuen Letitia, and Eugenia Lee, to represent the different states she finds herself in) who’s mostly a happy person, never letting the little things get her down and rarely showing when she’s upset. But underneath it all, her depression continually threatens to emerge, making her seem like someone she knows she’s not, while the weight of pretending gets heavier and heavier.

With such a difficult topic, it seems counterintuitive to adopt a cheerier, musical approach to the subject, but that is perhaps exactly what it needs to feel accessible and understand exactly what Sally is going through. Right from the beginning, the first thing you notice is the shimmering stage, the mark of a happy, joyous stage show. But as the show unfolds, it becomes clear that all the sparkle is hiding something far more complex, in spite of its initial upbeat energy. The ensemble dives headfirst into the madness, as we follow Sally through the “best night of her life”, a pulsing, vibrant rave that should feel like pure euphoria. Pausing for a quick photograph, it’s all smiles, at least for a moment, before the cracks start to show, with Sally clearly struggling to suppress her burgeoning feelings, holding on to a smile as long as she can.

The truth is, Sally is spiralling, and falling apart. From the childhood and friendships she’s had, against the disco music, everything is unraveling, as her friends leave her, her boyfriend leaves her, and she’s left with no avenues to express herself. With her reality the complete opposite of her expectations, it’s all she can do to pick up the pieces and try to move on any way.

All of this winds up with Sally saddled with the most depressing job in the world – a soul-sucking, money-grubbing role with a misogynistic boss, all while wearing an embarrassing animal onesie, it is quite possibly the worst position to find one’s self in. Her positive facade is almost certainly destroyed by this time, and even begins to express toxic traits, as it all goes downhill from here. Meeting Toby (Ze Xi Isaac Lee), she even begins to see his optimism as toxic positivity, and begins to spiral.

As she goes home and looks sifts through leaflets promoting support groups, she begins the process of shutting everyone else out, dismissing them and isolating herself, alone in her pyjamas in the bathtub, perhaps the calmest she’s ever been, before getting ready to slit her wrists. But a small, absurd moment, a Meat Loaf song that Toby likes, somehow pulls her back from the edge. She can’t possibly leave the world while listening to this, and with great effort, staggers out of the tub and holds onto life, driving home how even the smallest things can keep us tethered to life, in a raw, emotional moment.

Mustering the energy to call her mum (Ng Xin Hui), she finally admits that she can’t do this alone and isn’t okay, and moves back home. There are sacrifices one needs to make to get better, to enter into a state of recovery before things finally get better. As she rebuilds her life, finding a job she wants to do, with an understanding boss, things finally seem to be looking up.

There is a familiarity to Sally’s experience, even if we ourselves have never reached the point of attempted suicide. Played by three different actors at different points in the play, it often feels like any of us could be ‘Sally’ at some point, where we all may look different but all carry that same depression within us. We’ve all worn the mask at some point, pretending everything’s fine while barely holding it together, and these contrasting sides are precisely what leads to the immense mental pain and duress some might encounter. In a play that is brimming with emotion and hard truths, this is a young cast that does a good job navigating both the lighter, sillier moments, alongside the gut-punch of honesty it lands.

Depicting an entertaining yet deeply moving account of the messy chaos of life, A Super Happy Story (About Feeling Super Sad) is about the human condition; while life can be tough, it’s okay to lean on others, to ask for help, and to find joy in small victories. Because, as the show says, feeling “not bad” is sometimes the best kind of happy, and maybe, pretty damn good.

A Super Happy Story (About Feeling Super Sad) played from 14th to 16th November 2024 at the KC Arts Centre. More information available here

Production Credits

Director Daniel Jenkins Assistant Director Eric Larrea Playwright Jon Brittain Composer Matthew Floyd Jones Cast Liew Ai Wen, Chen Hui Hsuen Letitia, Eugenia Lee, Ze Xi Isaac Lee, Natalie Titus, Ng Xin Hui, Sarah Soh Ker Wen, Feroz J, Malik, Diego Alfonso Aujero, Riona Ann Cardozo, Joshua Ho, Samantha Ho, Athaya Putri Muhammad, Kate Chloe Tan, Tze Sheng Milton Wong Music Designer Joel Nah Production Designer Laura McEwen Lighting Designer Dorothy Png Sound Designer Noor Hidayat Norzizan Choreographer Pat Jon Gregory Assistant Lighting Designer Tai Zi Feng