Everything but the Brain
PUBLISHED July 22nd, 2013 03:18 am | UPDATED January 20th, 2016 04:28 pm
Sightlines is back in the limelight with its upcoming production of playwright Jean Tay’s ‘Everything But The Brain.’ If the name conjures up a sense of déjà vu, it’s because this is the third staging of the play (it was first staged in 2005 and again in 2007, each time to sold out runs).
The title of the play, ‘Everything But The Brain’, drops a hint to the audience – this is a play where you need to focus and the more attentive you are, the more you’ll get out of it. So, focus your attention – and your brain…
The initial premise of the play seems simple: it’s the story of Elaine, a thirty-six year old singleton Physics teacher and her relationship and care for her elderly father, a former Physics professor, who has a stroke, deteriorates physically and eventually dies. But this is not a typical family scenario. Elaine hatches a plan to turn back time by extrapolating the theory of relativity, to save her father from further deterioration. Throw in a memorable train-ride to Malacca, Einstein’s theory of relativity, three teddy bears, the big bad wolf, Tupperware, the promise of romance with a handsome doctor and a stroke of the brain. To have each of these items in the same paragraph, let alone the same play seems nonsensical but they are linked to each other in a complex lattice to tell a compelling story. I’m not going to explain the plot any further as to do so would spoil the experience. Suffice to say that the pain and poignancy of the relationship between Elaine and her father is at the centre of the story. This is a play, which invites you to watch and interpret it for yourself.
The cast of the show comprises of veteran actor Gerald Chew (reprising his role as Elaine’s father for the third time), Koh Wan Ching, Edward Choy, Faizal Abdullah, Amanda Tee and Cassandra Spykerman. Derrick Chew, who is also Sightline’s Artistic Director, directs the play.
I caught up with Derrick to get his insights on the production:
The play, “Everything but the Brain” has been staged a few times in the past. Why decide on yet another production?
We made a decision as a group to do this production. I have always wanted to do this play as I really like it plus I admire Jean Tay’s writing. I saw the previous production and thought it was really great. I feel it’s her best work and it’s very relevant to Singapore today as we have an ageing population.
On a personal note, my grandmother had a stroke and I saw how it affected everyone in my family. I really empathize with the caregivers – they bear the brunt of looking after someone with a stroke and they never have enough support. It’s the same with nurses. It’s a real pity that in Singapore, we regard nursing as a second grade job – it is such a key function.
Also, Everything But The Brain has been chosen as an ‘O’ level literature text. This of course helps with ticket sales but I am far more interested in investing in the youth and study and literature, which is, sadly, in decline in Singapore. Sightlines has even appointed an Education and Outreach manager to liase with schools.
So, in the future, is Sightlines going to concentrate on plays that are interesting to students to encourage them?
Yes – next year we are doing Lord of the Flies, a classic by William Golding.
What will be new about this production of Everything But The Brain?
The last two productions have been done in a ‘Black Box Setting’. This time, we are going to set it on a proscenium stage (at the DBS – SRT Theatre). This was not a deliberate choice but it does mean that we have to make changes to the stage directions, lighting etc. We are also doing a lot of work with lighting, sound, multimedia and projection. We are still in the process of conceptualizing it, but the visual and audio effects will be new.
As the Director, what are the most challenging aspects of the play?
As I mentioned earlier, there is the business of the proscenium stage setting. But the real challenge is that all of Jean’s plays have short scenes and the action moves from place to place. The transition time is incredibly fast. Therefore, timing presents a big challenge to my stage designer and myself! Furthermore, the play has non- naturalism mixed with naturalism, so we have to find the main concept that ties everything together. I am fortunate to be working with a group of actors who have done abstract and physical theatre.
Jean Tay once said that, “I believe that Everything but the Brain is fundamentally about the love and desperation of a daughter who does everything she can to keep her father alive” To what extent do you agree with this?
I agree with it 100%! It is the core of the entire play. It’s a catch up with time story about a daughter and her father. But they are not typical in that Elaine is a physics teacher and her father was a professor of physics, so there’s a bond there but there is no mother as she left when Elaine was very young. So her father has to play the role of mother and father.
What are the challenges for the cast?
They have to really understand the play and the meaning behind the lines. They look easy on the page but not so easy when you need to communicate with the audience. I am lucky that Gerald Chew is reprising his role as the Father. He’s played it twice before, so he brings an understanding to the table. But he’s acting with different actors who have different dynamics.
What can the audience look forward to and what is the message you hope they will take home?
Old age, ill health, caring for a loved one – these are things that everyone has experienced, so it’s something that you can relate to and feel sympathy for.
Having someone who is critically ill and needs care can bind a family together.
It’s important to understand the pain and struggle of not just the patient but also the caregiver. I guess the ultimate take home message is that there real value in spending quality time with your loved ones before disaster strikes and takes them away from you. This message of time and the impact of time runs through the play.
We also got the opportunity to chat with a few of the cast members and got their two cents’ worth!
KOH WAN CHING – I play Elaine Lim, a secondary school physics teacher, who attempts to take care of her father, a physics professor who has had a stroke. When the crisis hits, ordinary Elaine’s normal life as she knows it, is ripped apart. Elaine finds herself revisiting haunting childhood memories as she is irrepressibly caught up in the ebb and flow of time. She races against time to complete tasks and learn to take on the role of a caregiver. She turns to physics and ventures a desperate bid to turn back time for both her father and herself.
Having been an arts student all my student life, I was panic-stricken by the thought of having to play a physics teacher. I squirmed my way out of physics by burying myself as a humanities student in the pages of literature and history. Physics is a foreign language!
EDWARD CHOY – I play Dr. Samuel Chen, the neurologist who’s treating Elaine’s father. He’s a very thoughtful physician, especially when it comes to Elaine.
When I first finished reading the play after it was emailed to me, I remember not being able to do anything for half an hour because I was so affected by it. The subject matter really hits close to home because I was very close to my late grandfather and he never was the same after he suffered a stroke, and I’ve always regretted never spending more time with him. So when Elaine wants to turn back time for her father in the play, I really responded to that. It’s an absolutely astounding piece of writing, and Jean Tay really does deserve a lot more credit and recognition for her excellent work.
AMANDA TEE – I play one of the three bears, the character of Mama Bear. These are just titles Jean attached to the bears to make them a family unit to better tell the story. But essentially we play a multitude of characters, we would be friends at one moment and colleagues the next or most of the time as narrators. Essentially, we are Elaine’s subconscious, and the 3 of us are never apart, we’re usually a unit because that’s how Elaine sees us. We’re almost like her confidant in the play and probably the closest to her as well.
This is probably my favourite Jean Tay play. I think it is quite flawless. It has just the right balance of wit, drama, and intelligence. It’s so great to be working on my third Jean Tay play! Her writing is beautiful, well thought out, contains universal themes yet uniquely Singaporean at the same time!
FAIZAL ABDULLAH – I’m playing Bear A. He’s not Papa Bear per se, but he can serve that function – at times. He is mischievous and at times temperamental, but also very lovable.
I first saw Everything but the Brain when it was first directed by the late Krishen Jit. I fell in love with the play. For me it was something that is very honest, real and sincere. Years later, I still feel the same way.
So, you have heard from the Director and some of the cast members about the play – you should need no further encouragement to rush out to book your ticket!
Everything But the Brain presented by: Sight Lines Productions is showing at DBS Arts Centre – Home of SRT. The production will run from the 10th – 21st Aug 2013. Tickets available from: SISTIC . For more information, please see the Sightlines Website here or the FB page here.
