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There’s a lot to like about Singapore Lyric Opera’s production of Pursuant.

 

Set in a futuristic dystopic state of Singacorp, the story revolves around Ethan (Windson Liong), a teenager who is arrested by the thought police for harboring dreams. In this nation, dreaming has been banned because it prevents the citizens from achieving perfect productivity. At his trial, the judge (Darius Tan) interrogates Ethan’s parents (Nicholas Tham and Candice de Rozario) and while they are unaware of their son’s dreaming, they acquiesce to his sentencing into a CC (Concentration Camp).  Ethan meets other youths found guilty of dreaming and they were also sent for correction at this camp. In particular he meets Shufang (Mabel Yeo), a Cosplay fanatic, and Terry (Crystal Cordial) who has ADHD (Advanced Dream Hyperactivity Disorder). With the help of an underground rebel organization called Dream On, led by Can-Crushing Uncle (Jonathan Lim) and Cardboard Box Auntie (Nora Samosir), many of the children escape from the camp. In the meantime Ethan tells of his recurrent dream of an Old Man whose dreams laid the foundation for creating their nation. They go on a quest to find the Old Man (Gregory Chen) who looks suspiciously like Singapore’s former prime minister Lee Kuan Yew. They discover that while the Old Man initially intended the citizens to adopt his dreams, he eventually banned everybody from dreaming because their dreams had become too materialistic. Only when he has a myocardial infarction does he have a change of heart, and tells Ethan to dream on.

 

The cast is uniformly excellent. Windson Liong is outstanding in the lead role of Ethan, as is Jonathan Lim, the leader of the rebels. Dwayne Lau and Candice de Rozario are hilarious when paired up as the two civil servants. Dwayne Lau plays two different roles exceptionally well.

 

The story is written by Jonathan Lim, and the high concept is intriguing. The music is composed by Chen Zhangyi. The atonic score is more operatic in feel than a traditional Broadway musical. There is sufficient variety and energy to make it quite appealing. The singers are well supported by the orchestra conducted by Chen Zhangyi. The choreography by Andy Cai and Fion Quek enhances the confrontation between rebels and the military. Ratna Odata’s set designs coupled with Genevieve Peck's multimedia designs are imaginative and futuristic.

 

My main concern with this musical is that it sits uncomfortably between satire and propaganda. The parody of Singapore life and politics is laugh-out-loud funny. The musical would have worked perfectly if it was kept within the confines of this genre. Unfortunately, it also attempts to become a little too preachy, too serious, too politically correct, when it starts to champion the freedom to dream one’s own dreams. The jingoistic anthem-like songs towards the end are totally out of keeping with overall cheeky irreverent tone of the rest of the musical. The plot is a little too simplistic, and the addition of a subplot or love interest could have enhanced the story.

 

The other problem is that we do not know what the protagonist Ethan dreams about. What are his needs, his goals, his ambitions? They are not spelt out clearly, and this weakens the script significantly. Furthermore the conflict is not sustained. The rebels’ breakout from the Concentration Camp is achieved far too easily. Then, after escaping, there is a sudden change in their plans, and they decide to look for the legendary Old Man who had founded their nation. When they track him down, hidden behind high doors, one is reminded of the Wizard of Oz and we half expect the Old Man to be a fraud. He turns out not to be the humorously fraudulent Wizard, but rather someone who lacks integrity because he has betrayed a fundamental human right, namely, the right of the individual to dream what he wants to dream. This major character flaw makes him a crushing disappointment. Sure, after his heart attack he conveniently changes his mind but this is totally unconvincing.

 

In conclusion, the musical falls short because of book problems. It feels like a work in progress. It does not give the protagonist sufficient motivation for his adventures and his interaction with others. The many layers of conflict are not well developed and are not sustained, which means that the characters are one-dimensional cardboard personalities. The denouement of the Old Man’s betrayal of his dreams comes as an anticlimax. Finally, the inability to decide whether the musical should be a satire or a morality play gives us an unsettling feeling at the end.

 

Pursuant is a highly original work and despite its flaws, I think it is worth watching.

 

Kenneth Lyen

2 June 2013

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Libretto: Jonathan Lim

Composer: Chen Zhangyi

Choreographers: Andy Cai and Fion Quek

Set Designer: Ratna Odata

Multimedia Designer: Genevieve Peck

Costume Designer: Lucy Luo Ruo.

Produced by Singapore Lyric Opera

Performed 31 May to 8 June 2013 at the Drama Centre, Singapore