SPLIT by Split Theatrical Productions

“Emotional Rollercoaster”

Reviewer: Isaac Lim
Performance: 6 November 2016

Split is an intense 110-minute rollercoaster ride. And when this reviewer says intense, it really means intense. Imagine topless guys prancing around on stage, a soprano repeatedly hitting high notes, and lots and lots of shouting. In fact, the actors were breaking out in perspiration 15 minutes into the show.

The play, written and directed by first-time director Darryl Lim (whose day job is an educator with the Ministry of Education), centres on the theme of emotional splits. The ensemble of six actors are challenged to take on multiple roles. Often, the plethora of characters on stage at any one time appears to represent the different voices in one’s head.

The play starts off strong, with a group of actors asking the question, “Does every play need to have a narrative?” This work is devoid of a central narrative, and perhaps throws up too many questions.

The age of the actors also means they lack the life experiences to carry across the maturity some of the characters need. For example, the mother to the problem child, or the man with abusive tendencies.

It’s good to leave the characters’ actions ambiguous at times, but there are also instances where the actors themselves seem to be at a loss. Ambiguity does not equate to being unsure.

The director is too engrossed with story-telling, and while he attempts to pull off a certain style (think post-dramatic), he failed to take a step back and let the story breathe. The actions, sounds, lights, and lines all come fast and furious.

It is a step above school (and hall) productions, but a long stairwell away from being a polished production.  That said, the actors clearly share a very strong camaraderie. I believe they have trained and rehearsed together as a team for a prolonged period of time. They have developed a sense of trust which is very apparent in their performance. This is especially revealing in the scenes which require intimate interactions.

Credits also go to Hong Guofeng, the choreographer of the dance-movements. If taken as a movement piece, the show is intriguing and lovely to watch.

At the end of the piece, this reviewer feels drained, and rather “split”.