This April, Sing’theatre is kicking off its 2025 season with a much-anticipated restaging of A French Kiss in Singapore, a critically-acclaimed musical revue first staged in 2013. Directed by Hossan Leong, and featuring a cast that includes Dwayne Lau, Amin Alifin, Andrew Marko and Rino Junior John, the show revisits the music of French legends like Charles Aznavour, Serge Gainsbourg, Jacques Brel and Charles Trenet—with a twist of Singaporean flavour.

For Hossan, directing and performing in A French Kiss in Singapore has been a homecoming of sorts. “The whole rehearsal process has been so great—working with friends. We’ve put together a dream team of creatives. It’s been smooth sailing so far—we solve problems as we go. And the subject matter, love is just such a visceral emotion you can never divorce yourself from, and I’m honoured that we’ve gathered such a team to sing and perform these incredible songs.”

Dwayne, who previously worked with Hossan on Cabaret, says that working with him is both reassuring and creatively freeing. “I appreciate how Hossan does his homework for any show. As an actor, you don’t feel lost. The parameters are set, and you don’t have to worry about what you’re doing because the director has a vision for the cast. He’s very transparent, and it’s easier to assess things if you’re struggling. He doesn’t micromanage, but he’s always present to work things through with you.”

Hossan adds, “I like to collaborate—it’s not top-down. I act, so I know how frustrating it can be working with some directors. I’ve been there, and I’m here to support everyone. That’s why I want to put the show together as a team, there’s so much I have to learn from the cast as well.”

Since announcing his ‘retirement’ in 2019, Hossan has shifted focus—but not away from the stage. “I said that in 2019, that I was retiring from producing my own shows. But I still do want to act. It keeps me alive. Without the creative outlet of the arts, I’d go mad. This show and the upcoming SIFA show —it’s back to back for me, and it’s an exciting kind of pressure. If anything, I want everyone to know I’m still here!”

This 2025 production comes at a meaningful time—marking 60 years of friendship between France and Singapore. Set in a Parisian museum, the show takes audiences on an emotional journey through a collection of songs about love in all its forms. “There are about 23 songs,” Hossan says. “All about love—where we learn to appreciate it across all forms, all sizes, all contexts, from love for a friend to love for family, and of course, romantic love.”

Still, this revival isn’t about spectacle. “Some songs have been choreographed, but now some have more stillness, less fanfare,” Dwayne explains. “There are interesting rollercoasters—fun songs, then breakups. It’s all curated so that one moment you’re up, the next you’re down. It’s a good metaphor for life. And it becomes a fun experience for the audience, to go on that journey with us.”

Hossan agrees: “I listened to the songs on Spotify, and with some of them, the poetry and lyricism just really hit me. I wanted the audience to really listen to the lyrics. Yes, some numbers need to go ‘boom’ with movement and choreography, but if a song doesn’t call for it, we should just listen to it and indulge in the beauty. So this museum setting, it’s meant to make you feel like walking through an exhibition of artwork, which partially stems from how the first time I saw a Monet, I was moved to tears. I want people to feel that—the joy, the unexpected sadness, the emotion.”

Some numbers are intensely personal. Dwayne shares that Le Mama unexpectedly became a tribute to his father. “It’s about a guy singing about his dying mother, and her wish to stay behind and take care of the children and the legacy. At first, I didn’t think much of it—I was just learning the lyrics. But next week is the anniversary of my dad’s passing, the first year. Looking at the lyrics again—it was so meaningful. It felt so timely. Hossan said, ‘Yeah, I consciously chose that song for you—to resonate and help process your dad’s death.’ Every phrase, it resonates. It matches what I went through.”

Another emotional anchor is a tribute to the late Emma Yong, best known for her musical theatre performances and a close friend of Hossan. “We will be featuring If You Go Away (Ne Me Quitte Pas); there’s a recording of her voice singing the French verse, and we’ll be featuring it as I sing a ‘duet’ with her. It’s quite poignant, but ot in a sad, ‘woe is me’ kind of way. It’s about love—the love of a friend, even if it’s a late friend, and we really want to celebrate her life and talent. I used to sing it while learning French, and the French lyrics—wow—they hit differently. It’s so meaningful, something that only hits you once you really understand all the nuances”

Despite the emotional depths, the show is also a space for joy and mischief. “This production is less intense than Cabaret, when I was playing the Emcee and had to carry a lot of the show,” says Dwayne. “This one is more shared among the five of us, where we support each other and rehearsals are more relaxed. There’s a lot of fun, and there are a lot of laughs; this group of boys up to no good all the time, teasing each other, egging each other on, and to explore our different dynamics and let the friendships form throughout the process!”

Still, Hossan notes, the arts scene remains a grind. “Kudos to Nathalie for starting this company so many years ago and encouraging us to come onboard. Things have changed since my generation; there’s a great talent pool now—people go to LASALLE and other art schools. But is there enough work? Are we all tapping the same pool? Some people end up juggling multiple jobs. It’s hard to take a chance on someone new when you need to sell tickets. So maybe you start them in the ensemble, then move them to sub-lead, then lead.”

Dwayne agrees. “I got my own start thanks to a bit of luck, where I was recommended through word of mouth. How successful you are is highly dependent on who you know and whether you get recognised. I try to pay it forward now, and if people ask me if they know anyone who would be good for their production, I try to recommend friends and ex-students to them, and hope they get their big break.”

When asked about the title of the show, Hossan muses, “I think Singaporeans don’t kiss enough. Physical touch is something we don’t understand. When I see my parents, even putting an arm around my dad—it takes conscious effort. I’m okay with my younger nephew, but with the older generation? You have to train them. It’s an interesting observation. Maybe Singapore’s still young. Maybe 300 years from now, we’ll be more open about showing affection.”

Dwayne adds, “I think the French are a lot more open and honest. In Singapore, we’re a bit more reserved and conservative. My own love language shifts, and I think I’m a good kisser! But really, this show is about baring all the emotions and putting your heart on your sleeve.”

But even with heart and vision, mounting a local show has challenges. “There’s no more newspaper,” Hossan says. “Flyers are usually a waste of money. Everything’s social media now. But the algorithm? I don’t know how to market us anymore. Production costs have gone up, and with so many different acts coming in and competing, from Taylor Swift to Hamilton, people are spoiled for choice and sometimes don’t have enough to support productions like ours.”

Yet hope persists. “Word of mouth is so important,” Dwayne insists. “Even smaller shows—it makes a difference. Sometimes people ask, ‘Can kids come watch?’ and I say yes—but maybe they just need to know about some scenes. Don’t censor it. They just need context. It’s about the story, and we need people who can help tell that story.”

Hossan concludes with a call to action: “Some people say Singapore is boring. But there’s something for everyone. We have drag, local theatre, musicals—it’s all here. People just don’t know where to look. Get out of the malls, and into the theatre.”

And as Nathalie herself puts it: “I’ve lived in Singapore for decades now, and it’s basically home. And after watching so much theatre, you realise that sometimes the shows that touch you the most aren’t the big international productions with a massive budget; it’s the local shows with a heart that addresses the issues and people you’re closest to.” That’s precisely the magic A French Kiss in Singapore promises to deliver on: a show made with heart, soul, and a very local kind of love.

Photo Credit: Sing’theatre

A French Kiss in Singapore plays from 17th to 27th April 2025 at the SOTA Drama Theatre. Tickets available from SISTIC