JACQUES BREL IS ALIVE & WELL & LIVING IN PARIS by Sing’Theatre

“Simplicity is Bliss”

Reviewer: Jeremiah Choy
Performance: 2 June 2016

There is too much complication in this world and for a while I thought simplicity is dead, especially in theatre these days. But I am proven wrong when I watched SingTheatre’s Jacques Brel is Alive & Well & Living in Paris.

I must confess I am no Jacques Brel fan, nor have I heard of him until recently. But I am curious about SingTheatre restaging of this music revue and of course, I am a George Chan fan through various collaborations over the years.

As Director, Choreographer and Cast Member, Chan surprises me yet again. His self-assured, simple yet elegant staging of this production is chic and refreshing.

The very competent cast of Frances Lee, Matt Jasper, Stephanie Van Driesen and Chan himself is a delight to the ears, either as solos, duets, trios and as a whole ensemble. Lee’s rendition of Funeral Tango is on the money – witty and a tinge of wickedness. Van Driessen enchants with many solos but shows off her musical acting chops in the animated Timid Frieda. I can definitely see why she is the leading lady of the Malaysian musical theatre scene and I hope that she comes over this side of the Causeway to appear more often.

Flipping through many roles and characters, Jasper entertains with his confident and self-assured ways. He delivers each song with such earnestness, telling stories through songs. I enjoy his Amsterdam most. Chan takes on some of the juicier numbers and moves: he prances and claims the stage in Jackie, working the stage and the audience into a slight frenzy.

It is a courageous and brave vision to keep the production simple. It is so “Parisian” chic.

Although there is no direct narrative or “story line”, the music revue brings us a slice of life in Paris through the lens of Jacques Brel’s sardonic yet descriptive lyrics. The restraint in production design (lights, sound, set, costumes) allows the audience to re-imagine Brel’ stories and insightful commentaries.

Joel Nah’s (music director) simple yet ample orchestration of four musicians not only accompanies the songs, but narrates the cultural vignettes through appropriate music references. Genevieve Peck Jing Yi’s (lighter designer) lighting is evocative and Shah Tahir’s (sound engineer) sensitive sound engineering is perfect.

Yes, there is nothing spectacular or innovative or even groundbreaking about this production. But I walk away engaged, refreshed and inspired to find out more about Jacques Brel.