“Not Seamless but Still Special”

Reviewer: Myle Yan Tay
Performance: 5 May 2019

It’s difficult to review a show like Never Rarely, Sometimes Often, staged by Tapestry Playback Theatre, at the Toa Payoh Central Community Club. Playback Theatre is a form of improvised theatre, in which performers re-enact stories told by audience members. Tapestry has been practicing the art form in Singapore for 17 years, retelling people’s stories through dialogue, music, and movement. Rather than review the show’s content, which consists entirely of the audience’s stories, it is more appropriate to consider the skills and technical capability of the troupe who brings those tales to life.

Tapestry utilizes a considerable amount of tools during their show, such as tableaux, mime-work, and choral soundscapes, backed by music from different instruments. These tools add varied textures to the performance, and keep the show lively in its early stages. Michael Cheng does an incredible job as the interviewer, asking insightful questions of storytelling audience members without probing too deeply.

Like any form of improvised theatre, Tapestry’s performance is best when we cannot see the strings that are being pulled. But there’s a unique challenge for the performers: other forms of improvisation often use the audience’s contributions as a jumping off point to create new material, whereas Playback recreates them for an audience that has already heard the whole story. The performers cannot hope to surprise the audience. Instead, they can only be honest to the story that was delivered.

By and large, they succeed. There are some technical hiccups, with performers occasionally mishearing one another. This is overcome quickly, but sharper listening skills could lead to a smoother show. Additionally, the physicality of some performers is less refined, and a lack of clarity in motion sometimes compromises a scene’s visual impact. Lastly, some ground rules to open up the show would go far in ensuring audiences that the space is safe and free of judgement.

Regarding judgement, though the show is at times humorous, the performers put in an admirable effort to make sure it does not come at the audience member’s expense. It would be easy to go for cheap laughs, but that would have belittled the experiences that were shared.

It is not often as a theatregoer that I see an audience member share their story, watch it performed, and eventually, laugh and reflect on something that has made them angry, proud, or regretful. It is a transformative experience, not only for that one person, but for the entire audience. This requires not only sincere efforts by the performers, but a vulnerability and openness from their audience. That is why despite some loose threads, there is still something deeply cathartic about what Tapestry is doing – by making a room full of strangers feel like neighbours.

“Does It Matter? Yes, It Does.“

Reviewer: Cordelia Lee
Performance: 16 September 2017

Almost two-thirds of the audience have their hands up as the cast from Tapestry Playback Theatre asks who among us hasn’t experienced playback before.

Chins tilt upwards and eyes dart frantically around the room.

Everyone’s surveying the percentage of rookies, who like themselves, have no idea what they’re in for.

“This is playback theatre – participate, or die.”

Fortunately, the cast dispel all irrational fears as they begin.

Taking the lead, each member introduces him/herself and shares a personal anecdote about claiming public spaces. Fluid sculptures, coupled with repetitive phrases and character expositions, subsequently translate verbal recounts into visual narratives on stage. The impossibility of littering in Japan’s spotless, bin-less streets materialises as the cast sulkily stuff trash into their pockets out of peer-pressure. Comically thought-provoking, the cast’s encounters successfully calm the nervous energy in the room. The storytelling then opens to the floor, and our stories proceed to dictate the line-up for the rest of the evening.

Focusing on the topic of civic-mindedness, Does It Matter? encourages open dialogue among strangers by creatively bringing their stories to life in a safe space. Aesthetics is secondary in this kind of theatre. Yet, Tapestry delivers a commendable level of artistic skill in their execution, presenting theatre as both an artform and a social service to the community.

Improvisations commence barely five seconds after each story is told. A cast member establishes the improvisational style and title of the piece, the audience yells “Let’s watch!”, and it begins. Facial expressions, precise physical actions, and tonal shifts clearly mark out new characters from previous ones. With a bit of imagination, the most unassuming objects transform into something else. A scarf is knotted and strewn like bagged rubbish, while a box placed over the head becomes a gas mask respirator – an essential headgear for surviving air-pollution. The actors think on their feet, but are never completely breaks away from the ensemble. The story weaves the enactments together, a stimulus triggering an instinctive, collective reaction. Transitions flow seamlessly without overt communication as they bounce off each other’s energies, and intuitively negotiate space.

I wonder if they’re psychic.

For the most part, Tapestry strives to preserve the crux of each story, responsibly representing the given stories as sensitively and accurately as possible. But at times, a host of exaggerated local stereotypes invade an enactment, distracting the audience with cheap laughs. Unapologetically incompetent GRC ministers, self-entitled MRT seat-hoarding aunties, and zombie-texting teenagers make their cameo throughout the evening. Granted, given the immediacy of improvisations, the use of easily accessible caricatures is unavoidable. Yet they often seem superfluous and fail to leave a meaningful impression.

Does It Matter? provides an unfiltered platform for opinions about the state of civic-mindedness in Singapore to be heard. Importantly, it empowers the average citizen to communicate them. By transforming personal stories into improvisational theatre, art enters the interactive social domain as a tool, unearthing different perspectives and fostering greater understanding through conversation.

Yes, civic-mindedness does matter, and playback theatre does a beautiful job of reminding us of that.

“A taste of Playback Theatre”

Reviewer: Lee Min Jie
Performance: 16 July 2016

Founded in 2002, Tapestry Playback Theatre Ltd is a community theatre company in Singapore that practises a kind of improvisational theatre where audience or group members tell stories from their lives and watch them enacted on the spot. Their rich experience and expertise is evident when competent playbackers warm up audiences quickly with a few interactive exercises.

The theme for Tapestry Playback Theatre’s performance is “You never knew I was.” A theme designed to allow the younger generation to find out how their parents and grandparents grew up. Fortunately, there is no lack of story-sharers as many enthusiastic silver-haired folks and families are in attendance.

Interestingly the young performers are always able to capture the essence of each story despite it being shared by someone much older. The words and emotions resonate, perhaps a testament of how the joys and pains of growing up are shared by everyone.

The facilitator and playbackers do a good job of creating an atmosphere where audiences feel safe and secure. As the session progresses, more intimate stories are shared. This is quite an achievement considering how deeply personal some stories are and the fact that the group are practically strangers until an hour ago.

No doubt playback theatre is a valuable tool for surfacing stories and creating ties. Connections amongst those in the audience are built and strengthened. However, it remains to be seen if those connections are fleeting, existing only within the confines of the theatre. Or if it is able to find root outside the play and develop into a dialogue where transformative change can happen.