INNAMORATI TWO by Toy Factory

“One and Only. Two and Only?”

Reviewer: Isaac Lim
Performance: 29 August 2016

There are some works that are revived due to popular demand, and then there are some that return as sequels because there are more stories to tell. I have no idea where Innamorati Two lies.

Billed as a sequel to Innamorati (2014), the musical about chasing dreams in the music scene which shoehorned Malaysian singer Eric Moo’s songs into the show, Innamorati Two has almost zero link to its predecessor. Its Chinese title translates roughly to “only two” as compared to “one and only” for the first show.

This new musical written by Jiang Daini and directed by Goh Boon Teck, is set in a whimsical land of Lolilok (I’m unsure if it has any connections with Goldilock), with seven characters whose hair are dyed in different neon colours. This reviewer stepped out of the theatre not understanding what had happened in the 90 minutes, at all.

“Innamorati” refers to lovers in Italian, in particular stock characters in theatre shows that face various obstacles before meeting that one true love.

There are characters that end up as lovers, and predictably so. However, that is just one element in the musical. An An (played by Stella Seah), a supposed best-selling novelist, is attempting to write her next work. Everyone else are characters in that story as they try their best to create a narrative.

The characters in general are all weak and obtrusive. They have little to tell of their back-stories. They are but cardboard thin caricatures, and do not develop at all throughout the play. The world they create is not inviting, but leaves audience with several holes to plug instead.

Returning actors Sugie Phua and Wong Jing Lun offer sub-par performances, perhaps due to the characters they play. Wong sang off-key several times (one isn’t sure if it’s intentional) as an autistic boy who tends to a barter trade stall in the town square. His character has the most potential, but it is mostly unrealised.

The songs in the musical are written and composed by the actors together with the playwright, and arranged by Elaine Chan. None of the tunes stood out, and they feel like they were once again forced into the work. The actors incessantly break out into songs at the most awkward moments as if there must be a quota of songs to sing for the show to be considered a musical.

Credits to Tai Zi Feng, the set and lighting designer, for creating beautiful sets and scenes that make the fictional world come alive, perhaps the only saving grace of the show.

Sometimes, “one and only” makes a thing more precious.