ACTING MAD by The Necessary Stage

“Acting Mad”

Reviewer: Yong Yoke Kay
Performance: 8 August 2019

Acting Mad, part of The Orange Production 2019 by The Necessary Stage, is a full-length play that explores the topic of mental illness.

In Singapore, where mental illness is still heavily stigmatised, and acting as a career choice is not often supported, where does one find support and solace? Acting Mad is a frank and candid discussion of these issues and manages to do so without putting any additional labels, expectations or blame. It also recognises that, much like cancer, mental illnesses often don’t have a specific trigger point, and one might never know when or how it happens.

A verbatim piece created from interviews with 20 actors, the text seamlessly weaves these stories into a plot about four actors’ struggle in dealing with their mental illnesses, and how it affects their work and life. It must have been a thoughtful and thorough creative process for the script to be presented as it is – four wholesome characters who are more than just actors going through a tough time. They are also husband, father, son, relative, friend. Despite the heavy topic, the piece has its light-hearted and comical moments, and credit must be given to the people behind the text – Haresh Sharma, Harris Albar and Maryam Noorhilmi – as well as the magic of Sharma’s direction.

Although there is both verbal and written warning about potentially distressing images, I am still not prepared for painful scenes such as the sexual assault. There are points in the play that are uncomfortably disturbing, and I fight the urge to escape the room. The vulnerability, rawness and courage displayed by the four characters – Zac Osman (Al-Matin Yatim), Au Wei Jie (Andre Chong), Kate Lim (Karen Tan), and Liz Rajoo (Masturah Oli) – move the audience to tears.

The play highlights the notion and importance of ‘safe spaces’ by creating them live. Tea is offered before the start of the show, with a warm invitation to sit and chat with the cast. It is a chance for the cast to personally check in with each member of the audience, and it is okay if you’re not in the mood to talk. You can observe all that is going on from your seat, and the black box feels comforting, like a large living room filled with casual banter. The play concludes with another invitation to the audience, this time to form a circle so we can all thank each other for being there.

It is cathartic and reassuring to thank and acknowledge everyone’s presence, and in moments like this, I am once again reminded of the power of theatre to comfort and heal through both the community and the art form.