Theatre Review: SIFA’s opening show Moby Dick a sensory interrogation of life’s sublime wonders
Read the review in Chinese here. First published on Lianhe Zaobao on 31 May 2024. Translation by Faye Seng.
Captain Ahab being puppeteered in Moby Dick. PHOTO: SIFA
In the mere opening moments of this French-Norwegian theatrical adaptation of Moby Dick, the line between humans and puppets blurs into an unsettling enigma, plunging audiences into a world where flesh and string intertwine. This disconcerting ambiguity sets the stage for a 90-minute odyssey that probes the very essence of existence: how does one navigate a life shrouded in uncertainty––or, in the narrator Ishmael’s words, “a half-known life”?
Opening the 2024 Singapore International Festival of Arts (SIFA) is acclaimed puppet theatre company Plexus Polaire’s groundbreaking reimagination of Herman Melville’s timeless classic, Moby Dick. This innovative production breathes new life into the tale of a whaling ship captain's maniacal pursuit of the elusive white sperm whale, Moby Dick, who grievously severed one of the captain’s legs on a previous voyage.
The meticulous craftsmanship, together with director Yngvild Aspeli’s expert direction, shines through in the creation of 50 puppets for the show, including a whale measuring up to 7.5m long. By adeptly varying the scales and sizes of the Captain for different scenes, the menacing Ahab comes to life with astonishing nuance, his vulnerability and complexity deftly captured in equal measure. The production also mesmerises with its poetic depiction of the deep aquatic realm, where creatures coexist in enigmatic harmony, only to be disrupted by the whale hunts.
Yet, to label the performance simply as a puppet show would be a grave disservice. The incorporation of multimedia projections––depicting nautical emblems, seamen that float in the rhythmic tides of the ocean––adds significant depth to the production's world-building, elevating it beyond traditional theatrical boundaries. Particularly poignant is the wordless multimedia scene depicting Ishmael and Queequeg, a harpooner aboard the ship, gazing out at the sea together while puppeteered birds soar across the horizon. This moment stands as a testament to the seamless fusion of artistic mediums, evoking a deeply affecting resonance.
Praise must also be given to the strategic decision to position two live musicians downstage, squarely within the audience's view. Not only are their instruments (ranging from a double bass to an electric guitar) evocative and vocalisations haunting, but their visible performance adds a poignant layer of meaning. The parallel juxtaposition of seeing both puppeteers manipulate their puppets and musicians craft their music serves to reinforce the production's thematic exploration of upending the everyday world, and challenging what we think we know of reality.
Narratively, Plexus Polaire’s Moby Dick illuminates a profound truth: Captain Ahab’s relentless pursuit of revenge is a stunted attempt to grapple with the overwhelming incomprehension of the vast unknown. It is an impulsive response to what the Romantics of Melville’s time call sublimity––the feeling of being simultaneously fearful and in awe of something larger than oneself.
Condensing 600 pages of Melville’s reflections on imperialism, ecology, and philosophy into a single theatrical experience seems impossible. This adaptation glosses over the original novel's focus on individual seamen aboard the ship. For instance, the character Pip, originally depicted as a young African slave, lacks clarity in this production, obscuring Melville’s commentary on race. Nevertheless, it is possible that Yngvild Aspeli and Plexus Polaire didn't aim for strict textual fidelity; perhaps this adaptation's essence lies in experimental amalgamations of art forms, philosophy, and sensory engagement.
Moby Dick offers no simple solutions to the existential questions it provokes, instead urging us to expand our outlook on life's profound wonders. Through its potent imagery and stirring sensory-packed narrative, this adaptation emerges as a profound meditation on the complexities of the human spirit and the unfathomable mysteries that elude our comprehension.
It reminds us that a “half-known life” is still a life to be reckoned with.
