The beat of a drum can be a call to action, a stirring, the start of an anthem, and a way to connect with bodies beyond your own. A highlight of the show was the integration of live percussion in the form of musician Riduan Zalani. His playful incorporation of the existing set and the stage as instruments in his design is a testament to his virtuosity, and his soundscapes reverberated within the theatre as they shaped points of tension in each scene. The ensemble responded to these rhythmic interventions effectively, particularly in a purely physical segment detailing the construction of a windmill. The faint scratching of aluminium foil ducts, the diverse musicality of a steel drum often used as a shipping container, the stamping of feet on stage, and laboured breathing were all elements that contributed to a feast for the senses. They manifested the ritualistic seduction of work, ideology, and community all at once. There was however a slight incongruence when various sound cues were heard through electronic speakers, which was a stark contrast to the viscerality of the live music on stage. The playback of pre-recorded audio seemed jarring, and I was at times taken out of the world that the production had drawn us into.
This led me to ponder about the dialectical dramaturgy evident here; mainly, ideas of poor/proletarian theatre and conventional theatricality. There is a tension between the production’s minimalistic stripped-back strategy, and the choices made to subvert that clarity. For instance, it would have been intriguing to see what else could be revealed if live musicianship were the only source of sound on stage.
Wooldridge’s adaptation takes the audience through key moments of the plot—which felt more like a whirlwind overview of the narrative rather than a deeper exploration. The pace of the show doesn’t quite allow it to delve into the intricacies and nuance necessary for full investment from the audience. There was more of an inclination towards comedic interpretations of certain scenes, which perhaps belied the potential multidimensionality of existing emotional arcs. I left the auditorium feeling more light-hearted than introspective; and I wonder if that has masked the urgency of the themes discussed to some extent.
The questions raised in Wild Rice’s production are as salient as ever, considering the social and geopolitical upheaval we see around us today. Both Myanmar’s military coup and the recent collapse of Sri Lanka’s Rajapaksa government come to mind; clear examples of real-life ramifications of the tenuous alliance between a state and its populace. There are parallels to be drawn from Singapore’s history as well. Though the events that inspired Animal Farm might seem far removed from the modern day, the show is an attempt to frame them in an accessible way, and to retell the original narrative with references to contemporaneous global/local discourse which a Singaporean audience could relate to. The darker, more sinister realities in the original narrative aren’t as apparent. However, if the intention was to tease absurdities out of the narrative, and allow individuals to engage with the currency and intensity of these conversations beyond the humour in their own time, it is something that the team has achieved.
Do we charge forward into the unknown in search of greener pastures, or do we toe the line for the sake of peace? In his essay Why I Write (1946), Orwell described Animal Farm as the first book in which he attempted “to fuse political purpose and artistic purpose into one whole”. Presenting satire and critical inquiry through art is a valuable endeavour—and true to form, Wild Rice has created an experience that one could laugh along with too.