[LJ2ME] Prison Break
Just like how director Samantha Scott-Blackhall and producer Claude Girardi discovered the story on DVD, I too had watched the film some years back and remember it graphically. That was reason enough to catch this production of Das Experiment: Black Box at the Far East Square Pavillion this evening.
To say that the hithereto unknown venue was makeshift to say the least would be an understatement. From a pre-performance toilet call and running into a cast member preparing for the show there was the first sign. Other literal signs were put up outside to request silence from the passing-by public during the show
However, the double-tiered "set" convincingly represented the dual worlds of guard and prisoner, the gap between authority and submission a visible divide. On the lower level, a spartan cell block housed the prisoners, and the literal stripping of privileges was symbolised by changing out of mufti into hospital gowns and disposable briefs (no wardrobe malfunctions albeit gratuitous shows of packages). On the upper level, the observatory of the scientists had the token computers while the guards' break room was a fraternity den of junk food and booze.
The play explores powerful and profound themes and exploits one's senses and emotions to the hilt, with raw, gripping acting the order of the day. A motley crew of individuals allocated roles to play and henceforth learning the ropes on the job as it were.
With great power comes great responsibility. This maxim would best apply to the volunteers who were cast as prison guards where mock-pretence soon dipped into deeper, darker waters and a sadistic streak soon overwhelms the participants.
In what can be called a leading role, Jonathan Lim swallowed the role with an involved and impassioned turn as the corrupted-by-power prison guard who soon takes things into his own hands and assumes leadership of the jailers. His extreme measures and behaviour earns him respect among his peers and instils fear in the inmates. It was a searing performance that would have carried over into real life had he been any more interactive with the audience.
The rest of the guards were forgettable, with less than substantial contributions, and even then bordering on the banal and stereotypical. But this flaw perhaps due to the character development or lack thereof, more than the questionable thespian chops of the actors.
On the flipside, the prisoners were a colourful bunch of people, with polar opposites stretching the narrative fabric.
Claude Girardi in his main protagonist role is the catalyst that fires up the group dynamics and also invites trouble with the guards. He threw himself into the role wholeheartedly and in his violence and vehemence, destroyed some set pieces and props in the process
Jimmy Taenaka was perfectly cast as the cool undercover officer whose reserve and rectitude are soon tested by the turn of events. Theodor Paulsen's realistic seizure was harrowing in its convulsions and twitches that spoke of the untold psychological and physical damage done. R Chandran too was a highlight with his withdrawing and reclusive character.
As the play unfolded, it was a challenge to try to see everything as so much was happening on so many levels literally. With the cast of characters incarcerated in the cells across the stage and the guards and scientists above, one had so many options to see the sub-plot that mattered most personally to each individual audience member.
The show was not without its laughs, though unintentional. A supposed prison break was almost foiled as two of them overpowered a guard and took his keys, only to fumble with the lock in turn for an awkward and protracted period of nervous laughter before one of the players decided to improvise and punch out the bars of their cage.
The escape was not without event, and as things got out of hand, violence beget violence and escalated to the point of murder in cold blood. It was a stunned and impressed audience, affected by the events, that remained silent as though paralysed before I started the applause after a modicum of introspection.
Play it again, Sam!
To say that the hithereto unknown venue was makeshift to say the least would be an understatement. From a pre-performance toilet call and running into a cast member preparing for the show there was the first sign. Other literal signs were put up outside to request silence from the passing-by public during the show
However, the double-tiered "set" convincingly represented the dual worlds of guard and prisoner, the gap between authority and submission a visible divide. On the lower level, a spartan cell block housed the prisoners, and the literal stripping of privileges was symbolised by changing out of mufti into hospital gowns and disposable briefs (no wardrobe malfunctions albeit gratuitous shows of packages). On the upper level, the observatory of the scientists had the token computers while the guards' break room was a fraternity den of junk food and booze.
The play explores powerful and profound themes and exploits one's senses and emotions to the hilt, with raw, gripping acting the order of the day. A motley crew of individuals allocated roles to play and henceforth learning the ropes on the job as it were.
With great power comes great responsibility. This maxim would best apply to the volunteers who were cast as prison guards where mock-pretence soon dipped into deeper, darker waters and a sadistic streak soon overwhelms the participants.
In what can be called a leading role, Jonathan Lim swallowed the role with an involved and impassioned turn as the corrupted-by-power prison guard who soon takes things into his own hands and assumes leadership of the jailers. His extreme measures and behaviour earns him respect among his peers and instils fear in the inmates. It was a searing performance that would have carried over into real life had he been any more interactive with the audience.
The rest of the guards were forgettable, with less than substantial contributions, and even then bordering on the banal and stereotypical. But this flaw perhaps due to the character development or lack thereof, more than the questionable thespian chops of the actors.
On the flipside, the prisoners were a colourful bunch of people, with polar opposites stretching the narrative fabric.
Claude Girardi in his main protagonist role is the catalyst that fires up the group dynamics and also invites trouble with the guards. He threw himself into the role wholeheartedly and in his violence and vehemence, destroyed some set pieces and props in the process
Jimmy Taenaka was perfectly cast as the cool undercover officer whose reserve and rectitude are soon tested by the turn of events. Theodor Paulsen's realistic seizure was harrowing in its convulsions and twitches that spoke of the untold psychological and physical damage done. R Chandran too was a highlight with his withdrawing and reclusive character.
As the play unfolded, it was a challenge to try to see everything as so much was happening on so many levels literally. With the cast of characters incarcerated in the cells across the stage and the guards and scientists above, one had so many options to see the sub-plot that mattered most personally to each individual audience member.
The show was not without its laughs, though unintentional. A supposed prison break was almost foiled as two of them overpowered a guard and took his keys, only to fumble with the lock in turn for an awkward and protracted period of nervous laughter before one of the players decided to improvise and punch out the bars of their cage.
The escape was not without event, and as things got out of hand, violence beget violence and escalated to the point of murder in cold blood. It was a stunned and impressed audience, affected by the events, that remained silent as though paralysed before I started the applause after a modicum of introspection.
Play it again, Sam!