PIONEER (GIRLS) GENERATION by The Necessary Stage

“Old is Not Gold”

Reviewer: Andre Theng
Performance: 29 March 2015, 3pm

I have been thinking of this “Pioneer” label – it is currently bandied around everywhere, and I find it somewhat strange. When I think of ‘pioneers’, I think of older folks who have lived through wars, not people of my parents’ age. That not withstanding, Haresh Sharma’s latest play, Pioneer (Girls) Generation (PGG) tackles the issue of ‘pioneers’ in an ageing population, and is certainly very relevant social commentary in a society with a greying population and falling birth rate.

PGG is set in an unnamed, upmarket retirement home in Singapore and revolves around four residents played by Thomas Lim, Irene Ong, Padma Sagaram and Catherine Sng. While they are initially good friends, various issues tear them apart, especially when rent at the centre is raised. Eventually they all leave the centre for another one (spoiler alert) in a neighbouring country. Accompanying the cast of seniors are Dwayne Lau and Audrey Luo who play multiple roles as, among others, a Filipino helper at the home, a volunteer and a Chinese TV news anchor.

Sharma has produced much good work and unfortunately, PGG is not his best outing and the script feels raw and slightly undeveloped. The use of many sexual references as comedic devices is bizarre and there is scarcely much else holding the play together – surely rising rent is not the biggest problem faced by old people, who emphasise that they live in an upmarket home and that they are “not needy”. The play also suffers from hesitant delivery from the older cast members who stumble on their lines.

Short of studying the script in-depth, I sense a lurking meta-narrative in the story where the retirement home was a metaphor for Singapore society in Singapore – where its residents are dependent on the management to solve their problems, where the home’s gardens are demolished to build additional units and how there is a lack of consultation with residents before decisions are made. But if this is Sharma’s intention in a short 1.5 hour play, then none of them are fully developed and they serve to distract from the primary “ageing population” narrative.

PGG has potential to be something quite powerful but does not live up to that potential.

There are funny moments and the subject remains a pertinent one. It is commendable that Sharma and The Necessary Stage have taken it on amidst a nation-wide celebration of “pioneers”. And yes, there were many pioneers themselves in the audience who seem to appreciate all the jokes and the nostalgic music. Further adding to PGG’s woes was the fact that it was providing social commentary in the middle of the week of National Mourning for Mr Lee Kuan Yew (Of course, through no one’s fault), and although there is a moment’s silence observed at the beginning of the play, it is just bad timing.