HYENA SUBPOENA by Cat Kidd (Canada)

“The Untamed and The Marginalised”

Reviewer: Teo Dawn
Performance: 20 January 2016

If you could be an animal, what would it be?

Well, the answer is “half-hyena and half-me” for Montreal-based writer-performer Catherine “Cat” Kidd, or her fictional character called Mona Morse – one who turns her back on the human way of life to take a ride on the wilder side.

From the misunderstood hyenas to a dying lioness, Hyena Subpoena directed by Paul van Dyck is a marriage of theatre, multimedia as well as spoken word poetry about bestiality within humanity. Morse recalls events from her life story to bring to light issues on mental illness, relationships between predator and prey as well as the plight of growing up with the use of seven poems performed one after another.

Held at the National Museum of Singapore’s Gallery Theatre, this space is ideal for story-telling. The space is completely transformed by the enthusiasm as well as energy of Kidd as a performer. Her confidence and her imagination entice the audience to follow her journey as Morse.

Despite slipping up on occasion, Kidd’s rapid-fire spoken word skills drive the entire performance. She is clear and as she is articulate. The bass beats generated by DJ Jacky Murda underscore the rhythm of the text – animating certain naturalness in the text. The poetry is also accompanied by footage of animals projected on a large screen that proves to be quite a distraction during the quieter moments.

Lastly, the minimal use of props and set is a bold choice and an interesting one. It thoroughly challenges the imagination of both performer and audience to stretch the possibilities of story-telling, and returns theatre to its story-telling roots. I enjoy how items are reused to represent different things and shown in more perspectives than just one.

Hyena Subpoena is a thoroughly liberating performance of artistry and creativity. Engaging and fun, though with its stumbles every now and then, it is a truly a performance to witness.