14–30 MAY
OIWA - THE GHOST OF YOTSUYA The Finger Players (Singapore) 28 — 30 May 2021 Fri — Sun, 8pm Victoria Theatre
5 — 12 Jun SIFA On Demand
MESSAGE FROM THE FESTIVAL DIRECTOR The world has changed dramatically in the last year. This is an extraordinary time for artists, where we have been asking ourselves: how can we still bring you great art and recreate the magic of the live experience? This is an enormous challenge, one which requires creativity, boldness and determination. With over 60 productions and over 300 performances, SIFA 2021 has been curated as a direct response to the here and now. It is a response to the care and compassion we need for ourselves, our community and our environment. It features exceptional artistes and companies who have learnt to adapt and present work that can reach audiences around the world, using a variety of technologies. And it will feature a record number of Singaporean commissions and collaborations. Besides shows that will take place in theatres and unique spaces around Singapore, SIFA 2021 will allow you to interact with artists “live” from around the world. There won’t be any shows that you watch passively on a screen. You can also expect the return of festival favourites such as our popular film offering, Singular Screens, as well as Festival House – the epicentre of the festival. It’s been an honour to helm our national festival and see it grow in stature, both at home and internationally, over the past four years. None of this would have been possible without the support of the incredible team at Arts House Ltd who have worked tirelessly to make this happen, and especially their Herculean efforts of mounting a festival of this scale during a pandemic. In a time where most of us can’t travel, SIFA looks forward to bringing the world to you, and Singaporean artists to the world. See you at SIFA 2021.
Gaurav Kripalani Festival Director
MESSAGE FROM THE DIRECTOR Vengeance has a name and she’s known as Oiwa. Since 2018, I have delved into the myths and legends based on a real historical figure, immersing myself in tales of betrayal and unadulterated rage. Lady Oiwa’s pain, plight and trauma have not only reverberated across centuries since the Edo period in Japan, she has also inspired generations of storytellers in Japanese folklore and popular culture. She is essentially the embodiment of a true Japanese ghost. Four years ago, my hair was literally standing on end when I stumbled on her shrine in Yotsuya, Tokyo, Japan. Numerous strange accidents have allegedly occurred during the recounts of her story in film, TV and the stage, earning the reputation of being a cursed play/ story. The details of her story such as the events that led to her murder and death have changed over time but the basic outline has remained the same – the story of a ghost seeking revenge.
Scenes of Lady Oiwa’s hair falling out after being poisoned and her disfigured face are etched into the Japanese consciousness and have been represented many times. Yet, in our visits to the shrine, the porcelain figurine made in her image was one of a kind and gentle woman, a far cry from the grotesque monster she is often depicted as on screen and on stage. This incongruity between fact and fiction, real and perceived, the ethereal and the damned fired my imagination, to say the least. I transposed the Japanese folklore to a timeless period, referencing the original, re-contextualised the characters’ motivations to shed more light on Lady Oiwa as a person and legend. When the arts festival was postponed last year, I thought all the work invested would never see the light of day. So glad I am that four years later since our first rehearsal, we are finally here with the full team intact, despite the challenges and travel restrictions. I thank SIFA and The Finger Players for bringing together such a splendid team in what is a dream project of mine. 4 years in the making, and OIWA - The Ghost of Yotsuya is finally having her audience.
Chong Tze Chien
ABOUT
THE PRODUCTION With an innovative ensemble of puppeteers and actors, this age-old Japanese ghost story of betrayal and revenge is magically reinvented by Singapore’s The Finger Players. Based on blood-tingling real-life events and historical figures from the Edo period, the tale of Oiwa – a jilted wife who haunts her murderer – continues to reverberate through its countless adaptations. Now, one of Singapore’s leading theatre companies The Finger Players retells this timeless tale through an innovative ensemble of puppeteers and actors.
Actors simulate the movements of puppets, while shadowy puppeteers manipulate these human puppets, fusing techniques inspired from traditional Japanese performance techniques Bunraku and Ningyo Buri. Witness the scorned and powerful figure of Oiwa and the fearsome scavengers and peasants who commit horrific deeds around her, in this riveting tale of revenge, betrayal and heartbreak. A legend with a contemporary resonance, OIWA – The Ghost of Yotsuya promises an enthralling performance with hauntingly beautiful moments that unfold one after another.
INTERVIEW Chong Tze Chien (CTC), Director and Playwright of OIWA – The Ghost of Yotsuya, The Finger Players, shares:
How do you feel about being part of SIFA 2021? CTC: I’m more than excited that the team can go back to putting up a “live” performance again after a hiatus of one year. Being part of the festival line-up has always been special, and even more so this year as I believe both audiences and arts makers are eager to go back to theatre to enjoy the immediacy and intimacy of the art form/medium.
What can audiences look forward to for your programme? CTC: It’s both a haunting and moving story of revenge and love lost staged in an innovative and magical way, showcasing the best of The Finger Players in one production.
What are you most looking forward to in this show? CTC: The play is based on a true story and urban myth that has inspired generations of artists and storytellers in Japan and around the world.
How has the pandemic influenced your process in creating this work? CTC: The silver lining from not being able to stage the play last year was that the team had an extra year of refining and constructing the numerous stage gadgets and intricate costume pieces. It’s not often that theatre makers in Singapore have such a long gestation period to develop any work. The work has been conceived and developed since 2018, over four years now, and we can’t wait to show audiences the culmination of a long and fruitful process.
CREDITS CREATIVE TEAM Director/Playwright Chong Tze Chien
PRODUCTION TEAM Production Manager Lam Dan Fong
Dramaturg Mari Boyd
Technical Manager Ian Tan
Script Translation Saoko Ikuno
Stage Manager Keira Lee
Set Designer Wong Chee Wai
Assistant Stage Managers Alethea Koh Auderia Tan
Sound Design & Music Composition Darren Ng
Lighting Programmer Ctrl Fre@k (Wee Cheng Low)
Sound System Design Ctrl Fre@k (Jeffrey Yue)
Sound Operator Ctrl Fre@k (Lee Yew Jin)
Lighting Designer Lim Woan Wen
Surtitle Operator Rochelle Edelweiss Boon
Costume Designer Max Tan
Interpreter Mio Nakano
Assistant Costume Designer Wong Wai Toh
Wardrobe Manager Theresa Chan
Puppetry & Mask Designers & Makers Ang Hui Bin Daniel Sim Myra Loke
Dresser Tiffany Chai
Props Master Loo An Ni
Crew Ng Bi Yu
Puppetry Advisor (Workshop Phase) Yuki Magosaburo
Production Assistant Ang Hwee Leng
PERFORMERS Ang Hui Bin Doreen Toh Jasmine Xie Huilin Jean Ng Myra Loke Atsushi Hirabuki Futoshi Moriyama Mizue Takeuchi Tomohiko Kumagai Tomomi Yonezu SPECIAL THANKS Singapore International Festival of Arts Benson Lim Ellison Tan Gan Jiayi Jing Ng Juliana Tan Lina Yu Nine Years Theatre Priest Kenro Uematsu Shawn Chua Tan Wei Ting Teater Ekamatra Youunji Temple Yui Terada Yume Morimoto
ABOUT THE ARTISTS Chong Tze Chien Director
Tze Chien is a core team member of The Finger Players and an award-winning playwright/ director. Some of the awards he has won include the Singapore Dramatist Award and The Straits Times Life! Theatre Awards. His plays have been staged in Singapore, UK, Budapest, Taiwan and Japan. He has two collections of plays published by The Necessary Stage and Epigram Books respectively, containing critically acclaimed plays such as Charged (The Business Times’ top ten Singapore plays of all time) and PIE. Other notable works by Tze Chien include Turn By Turn We Turn, Poop!, Between the Devil and the Deep Blue Sea, and The Book of Living and Dying. Tze Chien was the Creative Director of Singapore Pools’ float and performance in Chingay 2007 and 2008, Co-conceptualist and Writer for NDP 2016, Creative Director of Island Adventures for National Museum of Singapore’s Children’s Season 2012, Artistic Director of The Arts House’s 10th Anniversary in 2014, and the Co-curator of The Studios: Fifty, a festival of 50 iconic Singapore Plays presented by the Esplanade in 2015. For his contributions to Singapore Theatre, he was awarded the Young Artist Award by Singapore’s National Arts Council in 2006.
Wong Chee Wai Set Designer
Chee Wai is a full-time freelance set designer. He has designed and worked with various performing arts companies in Singapore. Some of his recent works include W!LD RICE’s The Amazing Celestial Race, Schooled, Cafe, Mine, The Importance of Being Earnest, Fair Play, Merdeka, Emily of Emerald Hill, Supervision, Mama White Snake, HOTEL, Monkey Goes West, Public Enemy and The House of Bernarda Alba. Checkpoint Theatre’s Displaced Persons’ Welcome Dinner (SIFA 2019), as well as The Necessary Stage’s Off Centre and Sight Lines Productions’ Lord of the Flies.
Darren Ng Sound Design & Music Composition
For the past two decades, Darren has sound designed and composed music for over 250 arts productions, and has received multiple Straits Times Life! Theatre Awards for Best Sound. As a music composer and going by the pseudonym – sonicbrat, he is signed to record label Kitchen. Label and represented internationally by renowned music publishers Phantom Limb (UK) and P*dis (JP). He has also been invited to perform solo and do sound installations in numerous prestigious international music and arts festivals across Europe and Asia. Being the Associate Sound Artist and Music Composer for The Finger Players since 2004, Darren is also one of the co-founders of design collective – INDEX. He was conferred the Young Artist Award (music; multi-disciplinary practice) in 2012 by the National Arts Council.
Ctrl Fre@k Sound System Design, Sound Operation & Lighting Programming
Ctrl Fre@k is a show, system design and management company specialising in areas such as the performing arts, themed attractions and commercial events. It is the brainchild of likeminded individuals who have had extensive experience working in key areas of technical production including sound, lighting and video as well as both production and technical management of all scales and manners of productions in these ever-expanding fields. Since January 2010, Ctrl Fre@k seeks to provide well-researched, ingenious and high-quality design solutions that increase the production value of every project. At the same time, they strive to provide reliable technical support and acute problem-solving sensibilities to safeguard the interest and integrity of the production from conception, rehearsal and ultimately, the show. Their expertise in both hardware and software-based production equipment, bridging creativity and methodical workflow enable them to tailor-make solutions to specific requirements. 2019 marked the year where Ctrl Fre@k delivered show control, audio, video and lighting system designer, overall programming, onsite mixing, daily operations and maintenance of the yearlong showpiece, the Singapore Bicentennial Experience, at Fort Canning Park.
Lim Woan Wen Lighting Designer
A graduate from the National University of Singapore’s Theatre Studies programme, Woan Wen received the inaugural National Arts Council Arts Professional Scholarship in 2001 and trained at The Hong Kong Academy for Performing Arts in stage lighting design. She has won multiple Best Lighting Design awards at The Straits Times Life! Theatre Awards and was conferred the Young Artist Award in 2011 by the National Arts Council. Woan Wen divides her time between freelance projects, working with The Finger Players as their associate lighting designer, and making work as one-third of the design collective INDEX.
MAX.TAN Costume Designer
Experiments with quirk cuts and expanding on extremely simple ideas define the MAX.TAN language. Maximizing on minimalistic ideas, this complex language results in details that are sometimes blown out of proportion. Much of the label’s attention is paid to tailoring and draping while creating unexpected silhouettes and austere moods. The garments play with volume, modified shapes and use, masculine, feminine, oversized, undersized, deconstruction, reconstruction and transformation. The label designed its first collection in 2010 and has since been featured on numerous international publications and participated on platforms such as Modefabriek (Amsterdam) and Who is on next? Dubai (organized by Vogue Italia), just to name a few. Besides designing for the bi-annual ready-to-wear collections, MAX.TAN has also extended its designing language into costume designs in theatre productions. In 2017, its second foray into costume design won Best Costume Design in the Life Theatre Awards.
Ang Hui Bin Performer, Puppet & Mask Co-Designer and Maker
Hui Bin graduated from the National University of Singapore’s Theatre Studies Program in 2004 and has been working in theatre as an all-round artist since turning full-time in 2006. Some of her recent works include: Where the Wild Beasts Feed (Set & Headgear Designer & Maker, The Arts Fission Company, 2020 / 2021); plastik – Your World and Mine (Director / Set & Props Designer & Maker, National Arts Council x Gateway Theatre, 2019 / 2020); Beam (Director, Tiny Feat x The Artground, 2019); H A N D S (Director / Playwright / Puppetry Co-Designer & Maker, Esplanade Octoburst!, 2018); Framed By Adolf (Puppetry Co-Designer & Maker / Actor / Puppeteer, The Finger Players, 2018); and Itsy – The Musical (Puppetry Co-Designer & Maker, The Finger Players, 2017).
Myra Loke Performer, Puppet & Mask Co-Designer and Maker
Myra Loke is a puppeteer, actor, educator, designer and theatremaker. She started her journey in Singapore’s theatre 13 years ago when she co-created and participated in ARTivate (Pioneer Batch), a youth wing of Drama Box Ltd. Now, Myra is the Co-Artistic Director and a member of the core team of The Finger Players. She has since directed and led productions such as Peepbird (2020) and Little Mournings (2021), as part of The Maker’s Project. As an associate artist previously, she has performed and assisted in the design and making of puppets in Framed, By Adolf, The Spirits Play, ITSY- The Musical, The Flying Dutchman, Turn by Turn We Turn and several others. Myra continues to contribute as a puppet designer and maker. In 2017, Myra co-created You Can Reach The Sky, Singapore’s first immersive theatrical experience for babies. In 2018, Myra cofounded an arts collective, The Wanderlings, where she continues her work in engaging young people and people with special needs.
Daniel Sim Puppet & Mask Co-Designer and Maker
Daniel is interested in objects in performance and the potential of their material and theatrical presence. He has designed, coordinated and/or made puppets, props and gadgets for shows such as The Son (2020), Urinetown The Musical (2019), The Great Wall: One Woman’s Journey (2017), ITSY – The Musical (2017), The Flying Dutchman (2016) and The Spirits Play (2015). He also builds and has helped to create spaces for shows like Flowers (2019), Both Sides, Now: Closer (2018), MISSING (2018) and First Family (2017). Daniel is a member of The Finger Players (TFP) Core Team. He also helms a TFP programme, The Maker’s Lab, that focuses on research and development of puppet design and making. He graduated from National University of Singapore with a Bachelor of Arts in Theatre Studies.
Loo An Ni Props Master
Loo An Ni is fascinated with the tactility of objects and spaces. This brought her into theatre where possibilities are limitless. She has taken various roles behind the scenes, from design and construction to wardrobe management. She is excited to delve deeper into puppetry and props as it allows her to scrutinise every form and function of items used in the show, and study how humans factor into the equation between object and space.
THE PERFORMERS 1
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Ang Hui Bin
2
Doreen Toh
A professional theatre actor since 1992, Doreen has chalked up over 100 performances to date and is recognised by her peers and community as a seasoned theatre veteran. Other than performing with many leading theatre companies in Singapore, she has also performed internationally in Bangladesh, Vienna, Hong Kong and Macau. Aside from acting in theatre productions, Doreen has also delved into the film scene in recent years, acting in many of Singapore’s local film projects. In 2004, she won the Best Ensemble Acting award at Singapore’s annual Straits Times Life! Theatre Awards. In 2010, she scored a nomination for Best Drama Performance By An Actress in a Supporting Role at the Asian Television Awards for her role in August Pictures’ Letters to Heaven. Her first feature film Their Remaining Journey also had its world premiere at the 2018 Rotterdam International Film Festival.
3
Jasmine Xie Huilin
Jasmine is a performance studies graduate from Murdoch University of Australia and also a trained physiotherapist. She has performed in both English and Mandarin productions such as Narcissus (Arena Theatre), Tempest (Curtin University), Showpony, The Awakening (Mood Theatre), Of God and Wenches, Anthony and Cleopatra (Murdoch University), The Big Gold Mountain (Prickly Pear Productions), Micromanage Overwork Exaggerate (The Common Folk), Spirits Play, Samsui Woman, Spirits Play, Turn By Turn We Turn (The Finger Players), Café (The Twenty-Something Theatre Festival), Prism (Toy Factory), Four Horse Road (The Theatre Practice), Off Stage 1.0, 2.0, 3.0 ( Emergency Stairs), Exile or Pursuit (InARTS). Jasmine has also acted in feature and short films, and counts voice acting and event hosting in her portfolio. Jasmine was part of The Finger Players’ inaugural apprenticeship programme and is presently a member of Emergency Shelter, the training arm of Emergency Stairs.
4
Jean Ng
Trained at the Jacques Lecoq Theatre School in Paris, Jean Ng is an actor, director, and educator.
5
Myra Loke
6
Atsushi Hirabuki
Atsushi has been active on the stage for about 20 years. His dream was to appear in movies. At the age of 19, he became a stage actor.
7
Futoshi Moriyama
Futoshi has appeared on stage more than 1,000 times. Between 1996 and 2000, Futoshi participated in musical performances in elementary and junior high schools throughout Japan. He then performed in productions for wedding receptions in Tokyo Disney Sea’s Hotel MiraCosta for 8 years after its opening in 2001. Recently, he appeared in Chong Tze Chien’s critical acclaimed SEED in Tokyo and Singapore. His many appearances in a wide variety of styles have included Ichikawa Ennosuke’s stage productions of Super Kabuki Oguri; Academic Shakespeare Company Macbeth; musicals The Soldier’s Tale, The Pied Piper of Hamelin; a play Demon Lake, The Lust of the White Serpent of the Tale of Ugetsu; Opera The Magic Flute, The Bat; and Seiji Ozawa Music Academy’s opera Carmen and many others. He is also active in TV commercials and films.
8
Mizue Takeuchi
Mizue was born in Tokyo, Japan. She is an actress and performance arts workshop facilitator. Mizue began her career as an actress in 1999 under Yukio Ninagawa’s direction, and has been freelancing ever since. In 2006, she took part in the first production of Takumi Sakurai’s company Chon-Muop. Since then, she has taken part in all of their productions as producer and performer. In 2009, Mizue became a facilitator of “Reading and playing picture books” organized by NPO Children Meet Artists. She is part of the cast of The Eponz.
9
Tomohiko Kumagai
Tomohiko kickstarted his theatre career in 1997 with dancer Min Tanaka. He was part of the ensemble of Japanese Performing Arts Company Pappa TARAHUMARA from 1999 to 2006. He has also made appearances on television and films. He recently performed in a monologue, and also does sound design and sound operation for his own productions.
10
Tomomi Yonezu
Tomomi graduated from the Kunitachi Music University Department of Performance, and majored in Vocal Music. She has performed in spac’s Golden Carriage, No light, Sports play, The Finger Players’ SEED, dracom’s Judgment Today, and the Seinendan International Theater Exchange Project 2018 GHOSTs. She is currently active as a singing instructor.
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ABOUT
THE FINGER PLAYERS The Finger Players is one of Singapore’s leading theatre companies, best known for inventively fusing puppetry elements into its visually-arresting productions, and its strong advocacy of puppetry. Founded in 1999, The Finger Players strives to be a centre of research and development for the creation and performance of puppetry in Singapore. In 2019, The Finger Players became the first arts collective in Singapore to operate on a rotating artistic director model, with each Artistic Director helming the fort for a stipulated tenure. The Artistic Director is supported by a team of core members who are integral to The Finger Players since its inception.
The company currently operates three branches: Main Season The company’s annual offering of edgy and original works, that adopts an interdisciplinary approach and: • pushes the envelope of puppetry • expands the imagination of puppetry • with puppetry at the core of its creation. International Season The company is one of Singapore’s most prolific international touring companies, and has actively been touring its productions since 2000, promoting Singapore’s brand of puppetry internationally. Outreach Season Using puppetry, the company reaches out to an average of 25,000 students and members of the public annually, through performances and workshops with schools, communities and institutions. The Finger Players is a non-profit organisation with Institution of Public Character (IPC) status, a recipient of the National Arts Council’s Major Grant for the period from 1 April 2020 to 31 March 2023, and a member of the Singapore Chinese Language Theatre Alliance.
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ART HOUSE LIMITED BOARD
Chairperson Wilson Tan Members Georgina Phua Joseph Ong Kelvin Ang Kenneth Kwok Lynette Pang Madeleine Lee Maniza Jumabhoy Ong Chao Choon
ABOUT ARTS HOUSE LIMITED
Arts House Limited (AHL) is a not-for-profit organisation committed to enriching lives through the arts. AHL manages two key landmarks located in the heart of Singapore’s Civic District – The Arts House, a multi-disciplinary arts centre with a focus on literary programming, and the Victoria Theatre & Victoria Concert Hall, a heritage building that is home to the Singapore Symphony Orchestra. It also runs the Goodman Arts Centre and Aliwal Arts Centre, two creative enclaves for artists, arts groups and creative businesses, and performing arts space Drama Centre. AHL presents the Singapore International Festival of Arts, the annual pinnacle celebration of performance and interdisciplinary arts in Singapore commissioned by the National Arts Council. AHL was set up in 11 December 2002 as a company limited by guarantee (CLG) under the National Arts Council and was formerly known as The Old Parliament House Limited. It was officially renamed Arts House Limited on 19 March 2014. In 2020, AHL was appointed cultural place manager of the Civic District.
ABOUT SIFA
As Singapore’s annual pinnacle performing arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the festival has gone through several evolutions and inspired generations of arts lovers and practitioners. Today, the highly anticipated festival is a high point on Singapore’s arts and cultural calendar. SIFA continues its festival mission to champion the creation and presentation of Singaporean and international works.
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