Why did you choose this particular piece for restaging?
As I grow older, I am more sympathetic to Lear and curious about his character. He’s such a negative authoritarian figure but also capable of love. The piece digs into the deep reservoir of what it means to be from this country. Like Lear, our government constantly asks, “Do you love me? And if you love me, do this.” It’s also intercultural like Singapore.
The performance was first staged in Japan. How different are Japanese and local audiences?
The Japanese are used to going to the theatre. But the audience here is still very young. We’re just trying it out. I’m always comparing us to Japan, the first Asian country to be cosmopolitan and modernized. One day, I want Singapore to be like Tokyo.
What is the biggest challenge melding the Eastern and Western aspects of the piece?
With Western storytelling, there’s a beginning, middle and end. But the Asian way is done through memory. It’s abstract. Though more imaginative, it is less realistic. Audiences are not used to it.
What would you like audiences to take away from the performance?
I would like them to be open, enjoy the music and not to worry if they understand. Singaporeans are always in examination mode. They worry if they have the correct answers. But this is not a test of whether they are artistic. Just enjoy the theater downhill all the way.
Lear Dreaming is on May 31-June 1 at School of the Arts (SOTA).
