What is one surprising thing about a theater director’s work that the general public doesn’t know?
Andrew Sinclair: I think most of the general public doesn't understand what a director does. I know some think that we stop the singers bumping into each other on the stage by devising a traffic pattern. In fact, we have to decide the shape the production is to take—visually and dramatically—how the characters are to be played, which means interpreting both text and music carefully and working with the singers and conductor to achieve this. It also means working in detail with the set, costume and lighting designers. It's a huge job and it makes me angry when people think we are only “traffic cops”.
Is Madam Butterfly your favorite Puccini work?
AS: I can certainly say that it is one of my favorites. It is not just a romantic opera but a clash of two cultures that do not understand the other.
What do you think accounts for the enduring appeal of Puccini’s operas?
AS: Puccini's music makes his pieces so well-loved. But he was also a great man of the theater. Half the time, audiences are taken on an emotional journey through his music without realizing it. Very few members of an audience remain dry-eyed when Butterfly carries her child into the room in Act 2. It gets me every time: Puccini's extraordinary use of music coupled with dramatic situation.
What would you like audiences to take away from the show?
AS: Hopefully, it will make us think about our behavior towards each other so we try to understand each other better.
Madama Butterfly is on February 1-2, 4-5, 8pm at the Esplanade Theatre.
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How does it feel to be the antagonist of the show?
It can be very stressful to be an antagonist coming up against so many protagonists in a multi-layered drama like The Crucible. However, I love the liberty I am given to explore psychotic, morally-questionable characters that force me to think from a different, almost deviant perspective. I find enjoyment from creating a genuine interpretation of any character, regardless of whether they are “good” or “bad”. But generally the “bad” ones are more fun.
If you weren’t playing Abigail, which role would you want?
Elizabeth Proctor. I think she is the biggest protagonist in the play. I feel her character truly captures the zeitgeist of our generation as well as the victims of McCarthyism who experienced grave suffering and oppression in the 1950s, inspiring Miller to write The Crucible. Elizabeth Proctor is definitely a great role that many actresses have sought after.
What’s the most challenging part of playing Abigail?
It has to be standing by and defending my character without judgment, and bringing myself to question my own preconceived notions of good and evil.
What drew you to the role?
I was drawn to Abigail’s obsession with love.
What do you think motivates Abigail?
I think John Proctor is a key figure in motivating Abigail to accuse innocent villagers of witchcraft. I also believe that he triggers most of Abigail’s insanity. She is relentlessness in her warped “love” for him and belief that her accusations and playacting will help John find his true self. However, the town’s emotional response of delirious hysteria and hyper-disillusionment also feeds and encourages Abigail to abuse her power to a state of no return.
Jean Toh performs in The Crucible on February 7-23 at The Drama Centre.
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Daniel Buys: Some of The Four Seasons’ harmonies are tricky and mastering the style of their era is a challenge.
What’s the practice and rehearsal schedule like?
JVR: Our training has been compared to that of an athlete. There’s a morning warm-up when you wake and then the actual rehearsals start: dancing, singing and acting. Separate at first (when you learn the new material) and then all at once, marrying the words of the songs to the choreographed steps. Later at home, you learn more lines and work on scenes you’re not comfortable with. The next morning it starts again.
DB: It’s their beautiful simplicity, wonderful four-part harmony and catchy melodies.
DB: I love the food here and have already seen some amazing food markets and malls. I’d also like to play golf on Sentosa Island.
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This luxurious recipe comprises dark Guatemalan Ron Zacapa 23 year rum—made from only first-press virgin sugar cane—brown sugar, water and a nub of butter steamed together and topped with cinnamon. The spicy creamy concoction is poured into a large huggable latte mug for maximum comfort value. Order it quick as it’s only available through the end of December.
It takes only a whiff of the deep burgundy Christmas staple, redolent of cinnamon and cloves, to lift the spirits. Magma’s is a particularly cheery mix of apple chunks, the house mix of German red wine, and fruit wine imported from western town Wetter (it’s a specialty there). Served in a petite 200ml clear glass, we appreciate how the focus here’s quality not quantity.
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