The History of Singapore, as Written by the Dim Sum Dollies
“Those who cannot remember the past are condemned to repeat it.” – George Santayana
That is, perhaps, one of the major takeaways from the Dim Sum Dollies, what with the celebrations for the country’s jubilee beginning to intensify (#SG50).
Originally staged in 2007, Dim Sum Dollies’ The History of Singapore Part 1 is a musical revue spanning the founding of Singapura to its independence in 1965 … with, of course, a little creative twist that would have drawn dirty looks from historians.
Sang Nila Utama’s search for Singapura is (in a manner reminiscent to a typical drama series) spurred by the guilt tripping from his mother, forcing the poor prince to find himself a new city with his girlfriend Siti in tow… you get the drift.
What follows subsequently is a two hour performance of comedy and puns neatly portioned into vignettes, and culminating into a NDP-esque sing-along (with Singapore flags to boot), complete with a selection of nostalgic national day songs. Suffice to say, the synchronicity of the Dollies with the chopstick, Hossan Leong, and their “if you know what I mean” face, has the audience thoroughly entertained and actively participating.
Amidst the feathers, sequins, and glitzy song and dance routines however, one aspect that this reviewer finds lamentable is the songs. While the tunes are catchy (kudos to composer Elaine Chan), the lyrics and word play are underwhelming, even clumsy at times. This makes some of the songs forgettable and hard to understand.
Those who are not familiar with the Dim Sum Dollies be warned that while it is performed in English, there are certain points where the characters lapse into Malay or various varieties of Chinese. It is, however, not that big of a deal, as this reviewer (who has problems distinguishing between Sembilan and Sepuluh) has no problem reading between the lines.
In a city of construction sites, Dim Sun Dollies’ The History of Singapore Part 1 serves as an important reality check that reminds us not to overlook the past, even in its tireless progression towards modernity.
Yet, one can’t help but wonder whether this play with/on nostalgia, and its purpose of remembering the past, can be a truly effective piece of performance, or will it be dismissed as being over-the-top due to its carnival-esque treatment?