Emily the Musical
Emily the Musical is mildly confusing.
There are so many elements in this musical that needs refining. The scenes do not flow like they should, or as they are supposed to. This performance seems more like the first draft of a film: shot, cut and pasted, rushed out in a limited amount of time without the delicate editing it needs to filter and polish the rougher and rockier parts.
The blackouts are borderline ridiculous in terms of how quick they are. There is often not even enough time for my eyes to adjust to the new lighting state the lighting designer has set out before the stage dims once again into a blackout. Then, we are back to working lights again. Ergo, it feels like going to an a la carte buffet where the food keeps coming and the waiter is force-feeding you dish after dish while you’re still struggling to swallow what you’ve just had.
Another part that needs resolving is actor placement – seeing people in the performing space with their hands empty and doing nothing is an incredibly frustrating thing, even if it’s just for one song.
While Act One has a lighter note to it, it takes a darker turn when the truth of Richard’s death is revealed to us. Following an intermission, Act Two is a web of revelations, with the plot quietly coming together to ensnare the characters into this situation that Emily has weaved out of her own need for love. This slowly destroys the ones she wanted to hold dearest to her.
The actors do carry their own weight on stage: kudos to Crenshaw Yeo, Karen Lim, and Melissa Wei-En Hecker for presenting the father-daughter and mother-son moments so beautifully.
There is much potential and space for improvement, especially with the stage directions and blockings . That said, this production seems promising – the bookwriter/lyricist Stella Kon has stated that Emily the Musical is looking for sponsors to fund further development.