Collected Plays Three
Alfian Sa’at explores the Malay identity and racial relations in this third volume of the Collected Plays series. This volume collects plays written and staged in Malay, and translated to English for the very first time. In Nadirah, a young woman is shocked to find out her mother wants to marry a non-Muslim. In Parah, a group of students can no longer ignore the stereotypes and prejudices that divide the races, and the strain it puts on their friendship. In Geng Rebut Cabinet (GRC), we’re transported to an alternate reality where the Chinese are the minority in Singapore. And in Your Sister’s Husband, five sisters try their hardest to reckon with their superstitious, old-fashioned eldest to farcical ends, raising questions about black sheep, outcasts and sociopaths.
Collected Plays Three
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Reviews
“But the most remarkable thing about the play, presented by Teater Ekamatra as part of the Man Singapore Theatre Festival, is probably the depth and breadth of issues that Sa'at managed in the 100-minute production. […] Intimate, yet stirring, Nadirah is a perfect example of how theatre can be amazing even without a sky-high budget - which is, perhaps, precisely what the Singapore theatre scene needs to see more of.” —Natalie Koh, The Business Times
“Alfian ingeniously weaves among moments of budding romance, teenage crushes on teachers and boys being boys some really complex, confrontational situations where the four friends’ (three boys and a girl) innocent, racially-blind relationships with each other are challenged by an awakening to their respective positions within Malaysian society.” —Mayo Martin, Today
“Alfian Sa’at’s Kakak Kau Punya Laki (Your Sister’s Husband) strikes gold. […] The standing ovation it received bears testimony to Alfian’s standing as one of Singapore’s finest dramatists. […] All in all, it is a valuable addition to Alfian's oeuvre, and a mature return to a traditional style of drama.” —Laremy Lee, The Straits Times
“GRC is a funny play. There are laughs but these lead to sobering realisation, as the audience sees itself reflected in the funhouse mirror of the world on stage. […] Performed in Malay and English - and even a little Mandarin - with English surtitles as required, GRC is as inclusive as the reality it represents fails to be.” —Akshita Nanda, The Straits Times
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