1992 - My Mothers Wooden Chest
Short Description
An Interview—The Director, The Actor and The Stage Manager
Haresh: It's a very Chinese play in the way you've explained it. And if left in Mandarin, I think a lot of us would not be able to appreciate the Chineseness of it. And for me the more I read it or watch it, I realise, it's not only Chinese anymore. Because things like fortune telling, superstition and all that... they're all very Singaporean and universal. Anyone can identify with them.
Jen Erh: I wanted to use music or a song in the play. I was thinking whether I should use an old English song or a Chinese song. To me, personally, I'm very much at home with old Chinese songs. But then, to most of the audience, if we have an old English song, say Elvis Presley, immediately it goes back to the 50s or 60s. But if I use a Chinese song, it might not work for the audience. But I'm not sure if the character will listen to Elvis Presley. I don't think so.
Haresh: It's a very Chinese play in the way you've explained it. And if left in Mandarin, I think a lot of us would not be able to appreciate the Chineseness of it. And for me the more I read it or watch it, I realise, it's not only Chinese anymore. Because things like fortune telling, superstition and all that... they're all very Singaporean and universal. Anyone can identify with them.
Jen Erh: I wanted to use music or a song in the play. I was thinking whether I should use an old English song or a Chinese song. To me, personally, I'm very much at home with old Chinese songs. But then, to most of the audience, if we have an old English song, say Elvis Presley, immediately it goes back to the 50s or 60s. But if I use a Chinese song, it might not work for the audience. But I'm not sure if the character will listen to Elvis Presley. I don't think so.