+ strange past
Natalie Hennedige is the Artistic Director of Cake Theatrical Productions. From 2002 to 2005, Natalie was a full-time Artist and Resident Director of The Necessary Stage. With The Necessary Stage she directed many plays including Lanterns, Sing Song and What Big Bombs You Have!!! as part of the Inaugural M1 Singapore Fringe Festival 2005. With Cake Theatrical Productions, Natalie wrote and directed all its shows since its inception, including Animal Vegetable Mineral (2005), Queen Ping (2006) and CHEEK (2006). The most recent production which she directed was Divine Soap (2006) which was commissioned by the National Museum of Singapore for its Official Opening Festival.
strangemessages talks to Natalie about the academic angst, the "Hennedige Hallmark", mixed media, the awards culture and aspiring artists.
+ in conversation
So how did you first get involved in the arts? Why theatre? Anything to do with VJ Theatre Studies And Drama and Lofty (nickname for the VJC TSD teacher)?
During my time, we were under Rey Buono. I kinda stumbled into TSD really. I started off VJ doing pure science then switched over. Thank goodness!!! It was kinda magic. I remember attending my first theatre history class and it just blew my world. Very drama, but true...
How did you find the guts to make "The Switch"? What was it like?
I was dying in pure science. My dad is a dentist but more so a man of science and logic so he wanted all five of us (I have four younger sisters) to do medicine. I was just not cut out for it. When I switched, the roof at my house came crashing down, no kidding, things were flying across the room. But once the dust settled (a couple of months later) we all moved on. By the way, my second sister is a lawyer and the younger three are doctors so phew! My dad got 3 out of 5.
Later on, you worked with Haresh Sharma and The Necessary Stage. How was that like? What did you learn?
I freelanced for 4 years and in 2001 TNS asked me to come on board. First I was an associate artist, then a full-time artist, then resident director. It was a wonderful ride. I basically performed in most of the main season plays while I was there: Abuse Suxxx!!!, BOTE, CLOSE-IN MY FACE, Godeatgod, Boxing Day. I loved acting but in my heart I knew it was directing that I wanted to pursue. Then in my last year at TNS, I directed What Big Bombs You Have!!! and that helped to seal my new artistic direction. Just after, I set up CAKE, to find my own voice and exercise my own artistic vision. I learnt loads at TNS, during the time I was there there were seven full-time artists: Sean Tobin, Chong Tze Chien, Jeff Chen, Haresh, Alvin, Serena Ho and myself. So it was just this rich exchange of ideas... we all worked so closely.
For me, the Hennedige Hallmark on any production is channeling the weirdest and most cringeworthy elements into some of the most subversive and powerful theatre I have ever seen. How did this evolve?
Oh my goodness! Haha. It's always interesting for me to hear what people say about my works. I think that as artists you channel your experiences good and bad and your personality into your work. I think I was always inclined to things that were more bizzare. Aesthetically that's my inclination. When I'm writing, directing or creating on the rehearsal floor, everything is very instinctive...there are certain things that drive me and become recurring themes in my work... religion, belief, identity, loss, family, dysfunction, man's limitations and struggle to grapple with his existence while searching for the divine. For the works i've created so far at least. Just what I've noticed as I look back and reflect.
I can be rather hard on myself. I think that I need to get to the heart of what I want to communicate with more pin point precision. Communicate what’s in my head with super clarity without losing my style and approach...its important to be true to that...for all of us...I think.
Do bad reviews bother you?
I have a philosophy which I stick by, which is, the day the show opens, it’s out there for the audience. What people have to say about the work that they watch is valid and it needs to be received with respect. It can be painful, but sometimes I try to see where the comment is from, it could be a matter or style or taste, sometimes there's truth in it. So you take it bravely, put it aside or learn from it and move on.
Take me through the process of constructing a play. From the point of conceptualisation, to choosing the actors and designing the set, all the way till it makes the stage. What are some of the problems - and thrills - you encounter? Any superstitions, rituals, hair-tearing antics?
Because each new work is original..,I start with two things going in tandem 1) what is it going to be about and 2) who do I want in it. Once I confirm the cast, I start writing with them in mind. As I'm writing I’m visualising the set and costumes. I also begin to visualise the actors and how they might perform in a scene. I continue writing until I reach a satisfactory ending and then wait for the rehearsal process to begin. I allow the script to evolve or change where it needs to. A lot has to do with drawing what I need from the actors in terms of acting styles or places I need them to reach. I am pretty work focused and can be demanding but again, it boils down how you relate to people...as a director, you need to channel different energies to reach the goal, which is a solid play. I can be volatile and there have been an occasional blow up here and there but we move on and keep working at what's before us.
For you, I would reckon that a play is not just a play - in the sense that it leaps off the stage and takes many different forms like film (think your collaboration with Brian Gothong Tan), music, dance, etc. How do you mine these connections between the stage and different media? Is there a philosophy behind that?
I'm looking to create an experience rather than just a play. That's what I strive for at least. The aim is always to find something that is transcendental and I believe in pushing the boundaries of theatre. Not to limit possibilities. What can you do in that span of time within that space, that makes a difference, that makes the outing worthwhile. I love using different media because it adds layers and helps the experience become more visceral.
Congratulations on your nomination for the Life! Theatre Awards. The theme this year is royalty. Will we see you in a boob-busting gown reminiscent of Gong Li's turn in Curse of The Golden Flower?
Hahahaha! No!
Seriously though, are you skeptical of the whole awards culture? How far does it adhere to its ideal of validating, and valuing artists' work?
I do believe that everyone, from all sides are trying to work things out so that as a community we can work together. It'll take time and its far from perfect. But its what I truly hope for, a community that supports each other. Especially in the English theatre scene.
What would you say to an aspiring playwright, especially one that is, perhaps, making "The Switch" we talked about earlier? How do you confront the uncertainty and unpredictability that is being an artist?
If in your heart, you know this is what you must do, then you must take the leap. Be prepared to steel up because it is not an industry that readily opens its arms. Humility is important. So is resilience. And show that you have something to offer. People want to hear your voice, find it, hone it.
Do you think that the arts community - and society in general - lends enough support to budding young artists? Is there a lack of programmes, mentorships, opportunities to facilitate artistic growth? Is there anything Cake and you are doing to help young artists out there?
I celebrate when a young artist gets his/her feet through the doors. But celebrating is not enough. I do want CAKE to be in a position where it can nurture budding artists. It's a matter of building our resources. It will a little more time but its what we want. And something we are striving for.
During my time, we were under Rey Buono. I kinda stumbled into TSD really. I started off VJ doing pure science then switched over. Thank goodness!!! It was kinda magic. I remember attending my first theatre history class and it just blew my world. Very drama, but true...
How did you find the guts to make "The Switch"? What was it like?
I was dying in pure science. My dad is a dentist but more so a man of science and logic so he wanted all five of us (I have four younger sisters) to do medicine. I was just not cut out for it. When I switched, the roof at my house came crashing down, no kidding, things were flying across the room. But once the dust settled (a couple of months later) we all moved on. By the way, my second sister is a lawyer and the younger three are doctors so phew! My dad got 3 out of 5.
Later on, you worked with Haresh Sharma and The Necessary Stage. How was that like? What did you learn?
I freelanced for 4 years and in 2001 TNS asked me to come on board. First I was an associate artist, then a full-time artist, then resident director. It was a wonderful ride. I basically performed in most of the main season plays while I was there: Abuse Suxxx!!!, BOTE, CLOSE-IN MY FACE, Godeatgod, Boxing Day. I loved acting but in my heart I knew it was directing that I wanted to pursue. Then in my last year at TNS, I directed What Big Bombs You Have!!! and that helped to seal my new artistic direction. Just after, I set up CAKE, to find my own voice and exercise my own artistic vision. I learnt loads at TNS, during the time I was there there were seven full-time artists: Sean Tobin, Chong Tze Chien, Jeff Chen, Haresh, Alvin, Serena Ho and myself. So it was just this rich exchange of ideas... we all worked so closely.
For me, the Hennedige Hallmark on any production is channeling the weirdest and most cringeworthy elements into some of the most subversive and powerful theatre I have ever seen. How did this evolve?
Oh my goodness! Haha. It's always interesting for me to hear what people say about my works. I think that as artists you channel your experiences good and bad and your personality into your work. I think I was always inclined to things that were more bizzare. Aesthetically that's my inclination. When I'm writing, directing or creating on the rehearsal floor, everything is very instinctive...there are certain things that drive me and become recurring themes in my work... religion, belief, identity, loss, family, dysfunction, man's limitations and struggle to grapple with his existence while searching for the divine. For the works i've created so far at least. Just what I've noticed as I look back and reflect.
On the flip side, critics have mentioned that your greatest weakness can be excess and a tendency to overload the senses. Do you sometimes feel that way about your work?
I'm aware of how excessive I can be. Sometimes it drives me nuts too. I don't know...I think this aspect of my artistic style will change, evolve as I continue growing and refining my work.
I'm aware of how excessive I can be. Sometimes it drives me nuts too. I don't know...I think this aspect of my artistic style will change, evolve as I continue growing and refining my work.
I can be rather hard on myself. I think that I need to get to the heart of what I want to communicate with more pin point precision. Communicate what’s in my head with super clarity without losing my style and approach...its important to be true to that...for all of us...I think.
Do bad reviews bother you?
I have a philosophy which I stick by, which is, the day the show opens, it’s out there for the audience. What people have to say about the work that they watch is valid and it needs to be received with respect. It can be painful, but sometimes I try to see where the comment is from, it could be a matter or style or taste, sometimes there's truth in it. So you take it bravely, put it aside or learn from it and move on.
Take me through the process of constructing a play. From the point of conceptualisation, to choosing the actors and designing the set, all the way till it makes the stage. What are some of the problems - and thrills - you encounter? Any superstitions, rituals, hair-tearing antics?
Because each new work is original..,I start with two things going in tandem 1) what is it going to be about and 2) who do I want in it. Once I confirm the cast, I start writing with them in mind. As I'm writing I’m visualising the set and costumes. I also begin to visualise the actors and how they might perform in a scene. I continue writing until I reach a satisfactory ending and then wait for the rehearsal process to begin. I allow the script to evolve or change where it needs to. A lot has to do with drawing what I need from the actors in terms of acting styles or places I need them to reach. I am pretty work focused and can be demanding but again, it boils down how you relate to people...as a director, you need to channel different energies to reach the goal, which is a solid play. I can be volatile and there have been an occasional blow up here and there but we move on and keep working at what's before us.
For you, I would reckon that a play is not just a play - in the sense that it leaps off the stage and takes many different forms like film (think your collaboration with Brian Gothong Tan), music, dance, etc. How do you mine these connections between the stage and different media? Is there a philosophy behind that?
I'm looking to create an experience rather than just a play. That's what I strive for at least. The aim is always to find something that is transcendental and I believe in pushing the boundaries of theatre. Not to limit possibilities. What can you do in that span of time within that space, that makes a difference, that makes the outing worthwhile. I love using different media because it adds layers and helps the experience become more visceral.
Congratulations on your nomination for the Life! Theatre Awards. The theme this year is royalty. Will we see you in a boob-busting gown reminiscent of Gong Li's turn in Curse of The Golden Flower?
Hahahaha! No!
Seriously though, are you skeptical of the whole awards culture? How far does it adhere to its ideal of validating, and valuing artists' work?
I do believe that everyone, from all sides are trying to work things out so that as a community we can work together. It'll take time and its far from perfect. But its what I truly hope for, a community that supports each other. Especially in the English theatre scene.
What would you say to an aspiring playwright, especially one that is, perhaps, making "The Switch" we talked about earlier? How do you confront the uncertainty and unpredictability that is being an artist?
If in your heart, you know this is what you must do, then you must take the leap. Be prepared to steel up because it is not an industry that readily opens its arms. Humility is important. So is resilience. And show that you have something to offer. People want to hear your voice, find it, hone it.
Do you think that the arts community - and society in general - lends enough support to budding young artists? Is there a lack of programmes, mentorships, opportunities to facilitate artistic growth? Is there anything Cake and you are doing to help young artists out there?
I celebrate when a young artist gets his/her feet through the doors. But celebrating is not enough. I do want CAKE to be in a position where it can nurture budding artists. It's a matter of building our resources. It will a little more time but its what we want. And something we are striving for.
+ strangework
Coming soon. Watch this space!
+ What's next ?
"In April, Cake will be presenting a new work as part of the Esplanade Theatre studio Season. It's a new play Nothing a meditation on love and death. Nora Samosir, Peter Sau, Siti Khalijah, Rizman Putra and Goh Guat Kian are in it, Brian Gothong Tan is on for multimedia and Philip Tan for music. Also CHEEK was selected to be part of an International Arts Mart so in June we will be putting up an excerpt of the play."
4 comments:
yay!
please feature music and dance some time too! thankyou!
NATALIE IS LIKE THE COOLEST PERSON EVER EVER EVER IN THE THEATRE SCENE! SHE ROCKS!!!
Re: budding artists in Singapore
The Creative Arts Programme (CAP) was unfortunately cut off from the rest of many young Singaporeans for a time. Granted, the programme was run by the GEP branch of the MOE and only wanted to breed bright young minds.. Hopefully that era has changed for the better. I'm amazed at how much the arts scene has changed since 'my time'. ;) Hope to see more women playwrights and poets too, since it seems that the upcoming ones tend to be overwhelmingly male.. Natalie is a big inspiration.
On a different note, Natalie's work is a severe case of postmodernist sensory overload which begets the question of accessibility. If you do read this, Natalie, i'm curious as to how you make your plays accessible to the common man when they're so bizarre.
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