The Admiral's
Odyssey was a musical (supposedly) inspired by the seven epic voyages
of the 15th century Chinese adventurer, the eunuch admiral Cheng Ho.
Here's the plot in a nutshell: a young boy finds Cheng Ho's footprint
in stone on a beach. By some strange magic Cheng Ho suddenly appears
to him and tells him his life story in hope the boy will learn some
lessons. The boy grows up and decides to go on his own adventure, leaving
behind his sweetheart, his bitter elder brother and his poor old mum.
Things don't work out in the big, bad world so he comes home, but alas
it's too late - mum's dead, and his ex has married his brother. He finally
realises that what he was searching for all along was at home.
With a plot like that, how could ACTION Theatre not be convinced they
had a winner? Set it to music and squeeze in a few nifty dance moves,
and you have the tinder in the fireworks for an NDP parade. Cast Tay
Ping Hui in the lead, and you have a full-blown, 20-episode Channel
8 drama series. Unfortunately I must raise my dissenting hand and voice
the many, many problems I had with this performance.
Top of my list - what did any of this have to do with Cheng Ho? Yes,
there were some references to Cheng Ho's voyages, but the links with
the main plot were as thin as Paris Hilton's waist. I think it speaks
volumes that more was revealed of Cheng Ho's life through the musical's
programme than through the play itself. History teachers should be warned:
do not be misled by the blurbs and ads that seem to promise much more.
And where was this play set? The young boy was apparently living in
"present" time, because there were plenty of references to the fact
that what happened to Cheng Ho happened 600 years ago (in case anyone
forgot that this was all part of the admiral's 600th anniversary celebrations).
But there also seemed to be a whole kampong feel to the first few scenes.
Was this Singapore in the 60s? Could it be a village in China? It's
anyone's guess.
Costumes were generally lavish but didn't help in anchoring the play.
The main cast was dressed in summery shades of brown that had a whole
colonial British India feel. Question: Christopher's mother is a dressmaker
who apparently weaves fascinating garments, but despite the many elaborate
costumes, we never actually see her famous embroideries. Why? Why do
some parts call for us to exercise our imagination, whereas other parts
seem in-your-face? Like the boy's name. Christopher Cheng. Part Christopher
Columbus, part Cheng Ho. Greatest Western explorer meets greatest Eastern
explorer. It's okay if you're naming dishes on a fusion cuisine menu,
but it's a bit tacky here.
Another question: What was the opening dance sequence in the second
half about? The second half begins with a feisty Boom Boom Room-style
dance number by the chorus, who are all dolled up as stewardesses in
tiny skirts (including the male members in drag). It was entertaining,
yes, but also a little risqué for a play packed with wholesome
family values - and it was completely detachable from the rest of the
plot.
The music was okay. Ken Low's melodies are pleasant tunes with a Barry
Manilow feel. But in a good musical, the songs contribute to the story
and add drama. A character breaks into song not because she has to,
but because the words have led her to it, and there is no other way
out of a moment than through song. I didn't feel that way about any
of the songs here.
What saved this show in the end was its strong cast. Jason Chan in the
lead was a charmer - a good-looking chap with great presence, and an
easy, effortless style. The singing was credible all round. Emma Yong
especially has an affectingly beautiful voice although she didn't quite
get a chance to show it off here to its fullest. The chorus put in palpably
energetic performances too.
But this alone was not enough to warrant the round of self-congratulation
at the end of the show, with producer Ekachai Uekrongthram spending
ten minutes thanking his entire cast and crew as if this was his first
school play.
Then again, who am I to criticise? ACTION Theatre has taken its Siamese
twins round the world. They don't care about the half-baked opinion
of someone from The Inkpot. It's how the audience reacts that
matters. And some people clearly enjoyed the show. Several in front
of me felt moved enough to give a standing ovation. Or perhaps they
felt restless and needed to get off their bums while they clapped. I
don't know for sure.
What I do know is that there are theatre groups out there doing very
good things that no one pays any attention to. Stellar performances
that barely draw a whisper of a crowd. And then there are shows like
this that get published in Singapore Tourism Board brochures.
It makes me angry. Cheng Ho's life is a wonderful story, told straight
up, without any sappy songs or dancing queens. ACTION Theatre felt otherwise.
I raise my dissenting hand in protest.
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"Some people clearly enjoyed the show. Several in front of me felt
moved enough to give a standing ovation. Or perhaps they felt restless
and needed to get off their bums while they clapped. I don't know for
sure"
Credits
Music: Ken Low
Lyrics: Ken Low and Jean Tay
Book: Jean Tay
Cast: Junix Inocian, Jason Chan, Wendi Koh, Emma Yong,
George Chan, Liew Jian Bin, Cynthia Lee, Celine Rosa Tan, Yeo Yann Yann,
Filomar Tariao, Luke Kwek and Andrew Keegan
Orchestrator and Conductor: Iskander Ismail
Choral Director and Choral Arranger: Babes Conde
Production Designer: Thoranisorn Pitikul
Choreographers: Aaron Khek and Wong Thien Pau
Lighting Designer: Bernie Tan
Costume Designer: Hayden Ng
Hair: Ashley Lim
Makeup: Cosmoprof
Production Manager: Tan Lay Hoon
Musical Director: Ken Low
Director: Darren Yap
Producer: Ekachai Uekrongtham
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