THE FATHER by Pangdemonium

“Keep me in temper; I would not be mad!”

Reviewer: Christian W. Huber
Performance: 7 March 2018

One has come to expect a certain amount of polish and professionalism from Pangdemonium productions, and the company’s transposition of French playwright Florian Zeller’s The Father largely does not disappoint. The 90-minute one-act piece replays various events that may or may not have happened, which successfully portrays one man’s harrowing and tragic journey down the tunnel of dementia. It’s also the story of how his principal caregiver – his daughter – must learn to do the most difficult thing and let go.

Lim Kay Siu plays the father, André, competently as a sweet, sympathetic, crabby, funny and pathetic old man, but lacks a certain gravitas that the role needs. Tan Kheng Hua plays his daughter, Anna, and manages to illustrate the mental fatigue that caregivers often endure, even though she seemed a tad low in energy on the night this reviewer attended. They are also complemented by a strong supporting cast.

Whilst the piece is technically clever in its use of stage and dramatic devices, these very devices threaten to take over the human drama as the audience develops a heightened awareness and expectation of them. This partly results in what is eventually a stubbornly unemotional experience for this reviewer (although there is no doubt much to praise about this production).

The direction of the piece is commendable, but there are some odd experimental choices that don’t gel with the piece as a whole. For instance, strobe lighting flashes in between scene blackouts, which jolts the audience into the unpredictable realities that they – or André – are experiencing. But it does feel somewhat out of place in this largely conventional staging.

But special kudos must go to Eucien Chia’s realisation of the set, which transforms from a classic living room to a prison-like hospital room. It is a powerful visual experience that convey the fast disappearing world that is no longer familiar to the protagonist.

Audiences with direct experience of a loved one suffering from dementia and/or are caregivers to them may at times feel “a wave of hatred” to the afflicted, and this piece is sure to strike an uncomfortable chord to those who know. That Pangdemonium have tied up with trained professionals to provide further dialogue at post-show talks to those who desire further help and assistance is to be commended.