Seven   Pages   In   Seven   Ears   by   Abu   Aidan   Muhammad

For Aidan

on his second birthday,

September 11th, 2003.


Seven Pages In Seven Ears

by Abu Aidan Muhammad

The History Of Singapore According To Gene

Hang Tuah, The Man Behind The Legend

Wondering Where The Tigers Went

The King Who Named Singapore

The Swordfish’s Greatest Hits

Who Stole The Sun

Inter-Galactic

© Abu Aidan Muhammad, 2003

hide-outs        the safe        on record        first degree        of a feather

word on the street        rap sheet        the next hit        writing on the wall


THE HISTORY OF SINGAPORE ACCORDING TO GENE

Characters

Gene, an eleven-year-old “nerdy” student

Sang Nila Utama, a Malay Prince; stands with one hand on back and the other holding chin

Guard, a Malay commoner; a flirt

Pirate, a Malay commoner; has an involuntary twitch

Raffles, a British clerk; has an over-bite, stands with one hand across front waist and the other behind

Towkay Tang, a Chinese entrepreneur; perpetually nodding and rubbing hands together

Hajjah Fatimah, a Malay entrepreneur; a typical village gossip

Govindasamy Pillai, an Indian coolie, perpetually rubbing beer belly

Panjang, a Chinese coolie, has a perpetual blank stare and smile; speaks at half speed

Rani, an eleven-year-old “cool” student

Nor, an eleven-year-old “no worries” student

Mrs Zul, a middle-aged “no nonsense” teacher

THE HISTORY OF SINGAPORE ACCORDING TO GENE

The backdrop is a huge flag of the Republic of Singapore. Centre stage is a classroom table and chair. Curtains open. Gene, carrying a school bag, enters stage right and crosses downstage centre.

Gene

Hi! (elicit audience response) I'm Gene. How is everyone today? (refers to flag) Look! It's our State Flag. Do you know what those things on the State Flag stand for? What does the colour red mean? (brotherhood) The colour white? (purity) The crescent? (a young nation on the ascent) The five stars? (democracy, justice, peace, equality, progress) I know it all by heart. But, my teacher Mrs. Zul says I must understand why they are important. So, to understand why, we are going on an excursion to Fort Canning, Telok Ayer, Boat Quay, Kampong Glam, … But I don't want to go. I cannot go. I've got a lot of homework to do. And it will be so hot at Boat Quay. Or worse, it might rain. And I heard that Fort Canning is haunted. It's a cemetery. Aiyah, why can't I just see these places from home on the Internet? I'm sure there is a Web site for such places, right? (crosses to table; places school bag on table and sits on chair) I don't want to go. I don't want to go. I don't want to go. I don't want to go. (rests head on arms on table and falls asleep) I don’t want to go. I don’t want to go. …

Sang Nila Utama

(enters downstage left, goes offstage and runs through audience) Help! Help! Save us. Help! Our life is in danger. Help! Please save us. HELP!!! (goes back onstage right, crosses and stands at downstage left)

Gene is startled; looks on in wonderment.

Guard

(holding a feather, enters downstage left and chases Sang Nila Utama through audience; ends up downstage right and Sembah) It is alright, Your Majesty. There is nothing to be worried about now. I have killed the beast. This is the proof. (shows feather)

Sang Nila Utama

Well, once again you have proven your loyalty to us. It is unfortunate that we cannot give you a reward for your bravery. Upon our return home to Sumatra, you shall get your just desserts. What beast was that? It really scared ... we mean, it caught us by surprise. We've never seen anything like it before.

Guard

(Sembah) Neither have I, Your Majesty. I have only heard of such a creature. It is very rare in these parts. I think it is a Singa, or Lion.

Gene (aside to Guard)

Lion?! But, that is a feather ...

Guard (aside to Gene)

Shhh! What he doesn't know can't hurt him. I wouldn't tell him if I were you. It might cost you your life.

Sang Nila Utama

A lion. Wait! What is a lion? Never mind. How beautiful! What a welcome!! And look around you. Everywhere we have been to in Sumatra, the Riau Islands and the other Melayu kingdoms, we had always heard that Temasek is a beautiful island, with beautiful (refers to audience) animals, and beautiful ... Who are you? Wait! Singa. Singa Pura. What a beautiful name! From now on, we shall call this island Singa Pura - Lion City.

Gene

Sang Nila Utama! (forced by Guard to Sembah) You are Sang Nila Utama. Beautiful! Could I have your autograph? Wait! You are supposed to be a prince from Sumatra. But, where is your crown, Prince?

Sang Nila Utama

We … had to get rid of it. It gave us a headache. And out at sea, the choppy waters did not help.

Guard (aside to Gene)

He got sea-sick. He does every time he goes out to sea.

Gene (aside to Guard)

He also got rid of the crown to calm the storm in the Straits of Melaka on your way here, right?

Guard (aside to Gene)

A storm? In the Straits of Melaka? You must be joking. Well, it did rain, but I wouldn’t call it a storm.

Sang Nila Utama

But, it was worth it. Look at what we have found. How we just love sailing.

Gene

So does … (forced by Guard to Sembah) my mother.

Sang Nila Utama

Your mother?

Guard

Sails?

Gene

Yes, (Sembah; aware of Guard) Your Majesty. New Year Sale, Opening Sale, Closing Down Sale and, especially, THE GREAT SINGAPORE SALE! (laughs, Sembah) Excuse me, Your Majesty, if you don't mind, I would like to ask you something. When you landed on this island, were there people already living here?

Sang Nila Utama

Of course! You live here!! Tell us, young man, about yourself and your family, what you Orang Laut do besides sailing, how you make a living, where you go in your spare time, … Is your lifestyle the same as the rest of the Melayus in the archipelago?

Gene

Orang Laut? Melayus? Archipelago? I don't know. Is this coming out for the P.S.L.E.? I don't think it was written in my books.

Guard

Books?

Sang Nila Utama

Not written?

Guard

You can read.

Sang Nila Utama

That is very good! You are very advanced. What kinds of food do you eat?

Gene

Oh, I love to eat Satay, Capati, Wan Tan Mee, ...

Guard

Guns. Pirates! Pirates, Your Majesty. Run for your life, Your Majesty. Run!

Sang Nila Utama and Guard exit stage left.

Gene (aside)

Pirates? Pirates didn't have guns during Sang Nila Utama's time. They would use a keris, or a spear, …

Pirate enters stage right; slowly approaching Gene.

Gene

... or bow and arrow, or a ... (slowly turns and sees Pirate) ... gun. (raises hands)

Pirate

(pointing gun at Gene) Give me all your money and valuables. Or I will kill you. And then, I will still take all your money and valuables. (sniggers)

Gene

I … I've spent all my allowance for today and my father doesn't allow me to bring valuables to school. In case I meet people like you.

Pirate

School? You go to school? What school? There are no schools on this island. Don't try to fool me! What's in the bag?

Gene

My school books.

Pirate

You mean, all you have is books? No money? And no valuables? How are you going to survive? What can you possibly get in exchange for books? Who ever heard of barter trading with books?

Gene

What's that? (points behind Pirate; hides)

Pirate

Whe … what? (turns away and returns; realises Gene's trick) Hah! Very smart. But, if you're so smart, what are you doing walking around with books? (laughs) Books. School!

Pirate exits stage right, laughing.

Gene

(comes out of hiding, shouting at Pirate) You can get a lot from books! (aside) Right? All you need to do is read and you can get information, you can get knowledge. You can learn so much about everything!

Raffles

(holding a document, enters upstage left and crosses downstage left) That is right, lad. And here is another piece of knowledgeable information, more writings, for you to keep with the rest of your books, Abdullah. (holds document towards Gene)

Gene

(faces Raffles) Abdullah? (looks around) Are you talking to me?

Raffles

(crosses downstage centre and hands document to Gene) The question is "who were you talking to".

Gene

(crosses downstage centre to Raffles and takes document) Actually, I … er, …

Raffles

(teasing) Feeling alright, lad? A little under the weather, are we, now? Perchance, sea-sick?

Gene

(surprised) The question really should be "are you feeling alright". How can I be sea-sick when we are on dry land?

Raffles

By George, you are right. We are on dry land. Your condition is worse than I thought. (starts panicking) Can I get you something? Nutmeg? Eucalyptus? How about some tea?

Gene

(looks at document and ignores Raffles' questions) What's this? I can't read these writings. Looks Arabic. But, I think my computer has this 'font'.

Raffles

Your computer? 'Font'? That is Jawi; Malay writing. You say you cannot read it? Oh, dear me! I think you had better take a seat. (sits Gene down) That piece of paper, my dear man, is to guarantee that all our children will get a proper education. No one should be denied the opportunity of a bright future. And the first thing we shall do is set up a school. Only when we have properly prepared ourselves can we manage the economic developments which, it seems only I foresee, will take place in this region.

Gene (aside)

Wah! So chim, ah! (to Raffles) You called me Abdullah just now and asked me to keep the writings for you. (thinking aloud) Abdullah. Writings. (click!) Munshi Abdullah. If I am Munshi Abdullah, you must be Sir Thomas Stamford Raffles! Wow! Could I have your autograph?

Raffles

(refusing with false modesty) Well, not quite. Not 'Sir' Raffles. Not yet, I hope. (chuckles) Fancy that.

Gene

I thought you were supposed to set up a port here? And, in this … treaty, you agree to pay Sultan Hussein and the Temenggong a huge sum of money every year for it?

Raffles

Yes, of course! But, it would not do any good for you to have money and not know what to do with it, would it? Education, lad, is the key to the future. Learn!

Raffles exits downstage left. Towkay Tang, in a gunny sack, enters upstage right, crosses and exits upstage left. Towkay Tang re-enters upstage left with Govindasamy Pillai, tells him what to do with the gunny sacks and leaves him to do it on his own.

Gene (aside; mocking Raffles)

Education, lad, is the key to the future. Learn!

Towkay Tang

(crosses to Gene) Aah, young man, would you like to give me a hand? Aah, I'll pay you for your effort.

Gene (aside)

Okay, everyone, let's give him a big hand. (gets audience to applaud) Thank you. (to Tang) And you don't have to pay anyone for my effort. How can you afford to? You look like you're just a coolie.

Towkay Tang

Aah, no. I own the company. A small company. Aah, my name is Towkay Tang. I deal in household provisions.

Gene

You are a Towkay. (sniggers) Hello, Towkay. I am Fan-di Ah-mad.

Towkay Tang

Aah, nice to meet you, Mr Fan. Aah, my working principle is "if you have never done it, you can never understand it". Aah, that is why I do some of the work along with my coolies. And besides, aah, I don't get enough exercise keeping the books.

Gene

And when you do the work, you also "cut down costs and make a bigger profit". That is called your 'working strategy'. Right?

Towkay Tang

Right! Aah, that's very smart for someone as young as yourself. You should start you own business. Aah, but, I won't have to also do the work for long. When I started out, I had to do everything myself. Soon after, aah, I had to take on a few workers. One day, aah, I will have a dynasty of provision shops.

Hajjah Fatimah, holding a letter and accompanied by Govindasamy Pillai, enters upstage left. Hajjah Fatimah crosses downstage right next to Gene.

Hajjah Fatimah

Eunosh! Eunosh! You have been accepted, my shon. You have been accepted! Shtamford College hash shent a rgheply. They accept your application, Eunosh. They accept your application!

Towkay Tang

Stamford College, ah?! Wah! You have a very smart son, Hajjah. Aah, Mr Fan, I have to get back to work. (to Govindasamy Pillai) See you again, Sam. (exits upstage right)

Govindasamy Pillai

(crosses downstage left) Stamford College?! Very good school. For very smart people. Congratulations Hajah Fatimah, Master Eunos.

Hajjah Fatimah

Thank you, Mishter Pillai. Thank you.

Govindasamy Pillai

Aiyoyo, Hajjah, you don't have to be so formal with me. We are neighbours after all. Please call me by my first name.

Hajjah Fatimah

(blushes) I mean, Govindashamy. I mean, Sham. I'm sho happy for my shon. I'm sho happy. (to Eunos) You are going to have a brghight future, Eunosh. A verghy brghight future!

Govindasamy Pillai

That is for sure. With good education, there is no doubt. I should know. My family was poor and could not afford to send me to school.

Hajjah Fatimah

(pulls Gene downstage right) You could become a doctor, doctor; a lawyer, lawyer; or, a teacher - if you have what it takesh.

Govindasamy Pillai

(pulls Gene downstage left) I had to start from scratch, learn from hands-on experience, and save what I earn to start my own business.

Hajjah Fatimah

(pulls Gene downstage centre right) You will find your place in shociety, win the rgheshpect of your peersh, and lead our nation to happinessh, prghoshperghity and prghogrghessh.

Govindasamy Pillai

(pulls Gene downstage centre left) When I'm working, I have to keep my eyes open, my ears open, and study everyone and everything around me.

Hajjah Fatimah

(pulls Gene) You will carrghy our family name wherghever you go and people for generghationsh will rghemember ush.

Govindasamy Pillai

(pulls Gene) One day, I will make it. And …

Hajjah Fatimah & Govindasamy Pillai

(both grabbing Gene) Your/my late father would be sho/so prghoud/proud!

Gene

BUT MY NAME IS NOT .. (EUNOS)

Panjang

(intoxicated; enters upstage right) .. Pendek! I haven't seen you at work. (to Govindasamy Pillai) Oi, Bulat!

Govindasamy Pillai

Oi, Panjang!

Hajjah Fatimah

Alrghight, I'll go home firsht, Eunosh. I'll go home firsht and leave you with your frghiendsh.

Govindasamy Pillai sees Hajjah Fatimah off as she exits upstage right.

Panjang

(crosses downstage right) Pendek, come follow us. Bulat is giving everyone an opium treat. He just got paid today!

Gene

Opium? That's illegal!

Panjang

Illegal? (laughs) If opium is illegal, you don't need fire to barbeque satay.

Govindasamy Pillai

(returning) Panjang, why are we wasting time? There will be so many people at the opium house. Let's go!

Panjang

(mocks) No, Bulat. We should not go. Pendek just declared the new law. Opium is illegal!

Govindasamy Pillai

Illegal? (laughs) Pendek, you've been smoking too much fresh air. Take a break. Don't worry about anything. I'll pay for you.

Panjang

It will be just like always. We sit (squats), … we smoke (mimes a pipe), … we forget our problems, … we fly high, … (falls back)

Govindasamy Pillai

(seeing Panjang) We fall down!

Panjang

Then, we get up, we sit again and we smoke some more.

Gene

(hesitates) Why don't you two go first?

Panjang

You'll meet us there?

Gene

(at half-speed) Y-o-u g-o f-i-r-s-t.

Govindasamy Pillai

Promise?

Gene

See you!

Panjang

Remember, Bulat is paying. See you!

Panjang and Govindasamy Pillai exit upstage left.

Gene (aside)

Do you know what opium can do to you? I've read about it, but, I've never tried it. I don't know what it's really like. Should I go? (elicit audience response) How many of you think I should not go? How many of you think I should go? Maybe, I could try just once. Just once? What if everything I've read is true?

Others dressed in mix-matched costumes, carrying placards showing “May 1955”, “October 1956” and “May 1961”, enter and run around stage, shouting as in a riot.

Others

Fire! Burn! Fire! School! Fire! Burn! Fire! School! Fire! Burn! Fire! School! …

Gene

(runs around stage hysterically) Burn the school! Burn the school! Burn the school! Burn the school? (pauses and realises his mistake) The school is on fire! The school is on fire! Help! Call 999! Call 995! Where's my hand phone? (cannot find hand phone; panics) Quick, get the Civil Defence Force, get the PUB, the PWD, the CID, ISD, STB, HDB, CPIB, LCCB and SPCA! (ALL freeze) HELP!

Others place placards onstage and exit; Gene crouches on floor downstage left

Gene

Help me! Help me! Help me! Help me! …

Rani and Nor enter upstage right and cross to Gene.

Rani

Gene, are you alright? What are you doing on the floor? Get up!

Nor

Wake up, Gene! You're having a bad dream. Wake up!

Gene

… Help me! Help me! (wakes up with a start) Rani, Nor, the school is on fire!

Rani

What fire? There’s no fire here!

Nor

You've been dreaming, right? Fell asleep in class again.

Rani

You study too hard. (referring to mess) See? You even study during recess, while you sleep! At least if you skipped recess to play football with the rest of the boys, it wouldn't be so bad.

Mrs Zul

(enters upstage right) Gene! Rani! Nor! What are the three of you doing here? Don't you know there is a fire drill? You should be at the canteen lining up. The whole school is waiting for you!

All Students

Good afternoon Mrs Zul.

Mrs Zul

Come! … NOW! (exits upstage right)

All Students

Yes, Mrs Zul. (Rani and Nor exit upstage right)

Gene (aside)

It's only a fire drill. I'm glad I was only dreaming. Do you think all those things in my dream really happened the way they did in my dream? (turns around) Look! (refers to flag) It's our State Flag. Do you know what those things on the State Flag stand for? What does the colour red mean? (brotherhood) The colour white? (purity) The crescent? (a young nation on the ascent) The five stars? (democracy, justice, peace, equality, progress) I know it all by heart. But, maybe I should go on the excursion to find out why they are important.

Others (off stage)

GENE!!!

Gene

I have to go. Bye!

Gene waves good-bye to audience and exits stage right. Actors enter stage right, take their Curtain Calls and exit stage left.

CURTAINS

*

* *

* * *

* *

*

HANG TUAH, THE MAN BEHIND THE LEGEND

Characters

Moli, an actor

Izzat, an actor

Farah, an actor, Narrator and rebana player

Gene, an actor, Narrator and rebana player

Tuah, a Malay, male, intellect-driven warrior (played by Moli); ages from seven to thirty-five

Jebat, a Malay, male, emotion-driven warrior (played by Izzat); ages from seven to thirty-five

HANG TUAH, THE MAN BEHIND THE LEGEND

Curtains open. Moli, Izzat, Farah and Gene, the latter two with a rebana each, enter stage right and stand in a row downstage.

Moli

Hi! (elicit audience response) My name is Moli.

Izzat

I am Izzat.

Farah

I am Farah.

Gene

I am Gene.

Moli

And today we are going to tell you a story.

Izzat

An old story.

Farah

Actually, it is also a legend.

Gene

A Malay legend.

Moli

It is said that once upon a time, …

Izzat

Was he actually a Malay? Does it say so on his birth certificate?

Farah

I don't think they had birth certificates during his time. Anyway, he (Gene) was the one who said it was a Malay legend.

Moli

Okay. Once upon a time, …

Gene

What's the difference between a 'story' and a 'legend'?

Moli

Will you all stop interrupting me?! I am trying to tell them the legendary story of Hang Tuah here!

Gene

Okay. We're sorry. But, don't say I didn't ask.

Moli

Thank you very much! A long time ago, …

Izzat

How long ago?

Farah

Long before your time, …

Gene

What time is that?

Moli

A time long before you were born, …

Izzat

Even before they (audience) were born?

Farah

A time long before any of us were born, …

Gene

But, that's too long a time ago! (to audience) Do you agree? Who cares what happened before any of us were born? Why can't the legendary story be time-less? Not before. Not after. Not even during!

Moli

Okay! ONCE, (checks around for approval) in Melaka, …

Izzat

Why must it be in Melaka?

Farah

Melaka is where Hang Tuah is from.

Izzat

Are they (audience) from Melaka? (to audience) Anyone of you from Melaka? Anyone from Malaysia? Yes? Which State? …

Moli

But, Melaka is where the legendary story took place then.

Gene

But, we are telling the legendary story in Singapore, here, now.

Moli

Okay, okay, okay! (sulks) You tell the story then!

Farah

(consoles) Come on. Don't be like that. We are telling the story together. (initiates) I'll start. And then we all continue. (negotiates) You can be our hero Hang Tuah, okay?

Moli

If you say so.

Farah

Okay? (checks around for approval) Once,… there was a man named Hang Tuah,… who became a legend.

Narrators, i.e. Farah and Gene, cross upstage centre, sit cross-legged and play Inang beat. Moli and Izzat change into costumes for seven-year-old Tuah and Jebat respectively and stand centre stage left in a Tableaux of playing Kleret. When Tuah and Jebat are in position Inang beat gets softer.

Jebat

Hah! I win, Tuah.

Tuah

But, that's the fifth time, Jebat!

Jebat

Stop complaining and just do the forfeit. (laughs)

Inang beat gets louder. Tuah carries Jebat on his back and goes across the stage to pick up 'stones'. Jebat tosses one 'stone', asks if Tuah wants to try and make a 'hit' with the other, and when Tuah signals 'no', proceeds to make a 'hit'. The sequence is repeated twice and on the third, Tuah makes a 'hit'. Inang beat gets softer.

Tuah

That's enough of you always winning, Jebat. Let's play something else.

Jebat

Since you always lose and then complain about losing, you choose the game. But, I'm sure you won't beat me, Tuah. You'll just complain when you lose.

Tuah

Teng-teng! (Hopscotch!)

Jebat

Tuanhamba 'always-complain-after-losing', please have the pleasure of starting this game of Teng-teng.

Inang beat gets louder. After Tuah, Jebat has his turn. He finds himself stuck in a difficult position, pauses, then cartwheels his way out. Inang beat gets softer.

Tuah

You cannot do that! That's cheating. You broke the rules.

Jebat

No, I did not! According to the rules, you cannot have more than one leg on the ground at any time. And you must stay within the boxes. Now watch me closely. (Jebat repeats his movements slowly) See? I was following the rules.

Tuah

Ah, let's play something else.

Inang beat gets louder. They play "Sembunyi-sembunyi" (Hide-And-Seek) with Jebat seeking. Tuah stops the game when Jebat starts kicking around to look for him. They play "Datuk Harimau, Pukul Berapa?" (What’s The Time, Mr Wolf?) with Tuah as Datuk Harimau. Jebat outsmarts Tuah each time. They end in a Tableaux of Jebat celebrating and Tuah complaining as Inang beat stops. Narrators cross downstage.

Farah

Two cute little seven-year-olds. So, Hang Tuah and Hang Jebat led a playful and happy childhood.

Gene

But, they were so different from each other. Even as children they didn't get along. How can you say they led a happy childhood?

Farah

Just because they did not agree with each other does not mean they disagree with each other. Or, they did not get along. You could say they were like two sides of the same coin; both different, but, making one whole.

Gene

The two sides of a coin face opposite directions. I think they were more like two pieces of a jigsaw puzzle; both different, but making one big picture.

Farah

Or, a pair of limbs, left and right; complementing each other.

Gene

Why are we telling the story of only two of them when there were actually five? You should also talk about the other three.

Farah

Where got time? (pauses; reconsiders) There were five of them; Hang Tuah, Hang Jebat, Hang Lekiu, Hang Lekir and Hang Kasturi. It is said that they were already raiding pirates when they were merely eleven-year-olds. Wah! So, brave. Cute, but, brave.

Gene

Eleven-year-olds and already attacking pirates? Are you sure or not? Who would believe that?

Farah

Why do you always have to disagree with me?

Gene

I don't disagree with you. I just don't agree with you. We see things differently. That's all.

Farah

Let's continue with the story. Now, Hang Tuah and Hang Jebat are fourteen-year-olds.

Narrators cross upstage, sit cross-legged and play moderate Gamelan beat. Fourteen-year-old Tuah and Jebat begin practicing Silat. Gamelan beat gets softer.

Jebat

Why do you do the same moves over and over again, in the same way each time? After awhile, don't they become mechanical and lose their meaning?

Tuah

The moves are mechanical. They don't have to mean anything. The repetitions serve to sharpen your skills.

Jebat

If being skilful only means being mechanical, then I don't want to be skilful. Because, I don't want to be mechanical. I want to understand the moves, feel each move I make, and be able to think through every move.

Tuah

So, you spend an hour doing one move.

Jebat

If that's how long it takes. If not, I'll just keep on doing it.

Tuah

By doing the moves mechanically, over and over again, the moves become a part of you. So, when you need them, you don't even have to think. The moves are almost second nature.

Jebat

(challenging) Is that so?

Gamelan beat gets louder. They have a play-fight. Jebat loses every round. Gamelan beat gets softer.

Tuah

What happened to understanding the moves?

Jebat

You may have won every battle, Tuah, but, you still need to win the war. You have not conquered me yet. All I need is to win one battle; just one move to destroy you.

Tuah

(jeering) Is that so?

Gamelan beat gets louder. They resume play-fighting. Jebat punches Tuah (Rebana bangs!) in the crotch; the one move he has worked on. Tuah goes down as Jebat celebrates. Tuah gets up, pins Jebat down and gets him in a hold that he cannot escape from.. Gamelan beat gets softer.

Jebat

Alright! Alright! I surrender!

Tuah releases the hold and stands back with arms raised in a gesture of setting free. Jebat unleashes another blow (Rebana bangs!) to Tuah's crotch.

Tuah

Jebat! You cheat!

Jebat

I told you, Tuah. You have not conquered me yet.

They laugh and end in a Tableaux facing each other in a ceremonial Sembah. Gamelan beat stops. Narrators cross downstage.

Farah

Hang Tuah was a man who always played by the rules. He took time to know the rules because no one can wrong you when you are playing by the rules.

Gene

But, it's only when you know the rules well enough that you can play around with the rules. Remember what Hang Jebat did (as a seven-year-old); that little cartwheel? How can you 'break' the rules and get away with it if you don't know the rules?

Farah

Do you mean to say that people, for example, lawyers, should break the law to show that they know it well?

Gene

(to audience) What do you think? Let me give you another example. Imagine your Discipline Master/Mistress,… What’s his/her name? (elicit audience response) … coming to school one day with a skin-head, nose ring and tattoos. What do you think will happen?

Farah

If I were the Principal, I would sack him/her immediately. No questions asked! How can you have such a teacher in school? Teachers have standards to maintain and regulations to follow. A Discipline Master/Mistress like that would set the wrong example for the students. (elicit Teachers’ support)

Gene

No, lah! If the students see that a teacher is just like one of them, they would be more comfortable with that teacher. There would be better communication and understanding between them. I think if I were the Principal, I would ask this Discipline Master/Mistress to take his/her class on an excursion to a Nirvana concert.

Farah

Oi, Kurt Cobain died already. What concert?!

Gene

Eh?! Oh! (to audience) Then, whose concert would you like to go to? (names some heavy metal bands)

Farah

If the Discipline Master/Mistress comes to school with a nose ring, what kind of rings do you think the students would wear? (gestures lip ring, nipple ring, genital ring) Eh, why am I talking about rings and you concerts?

Gene

Because you were talking about lawyers? (pause; explains) Let me put it this way. I think because they know the law so well, lawyers would make the best criminals.

Farah

Okay, I think you have gone far enough. Let's get back to the story. Hang Tuah and Hang Jebat are now twenty-one-year-olds. Older. Wiser.

Narrators cross upstage, sit cross-legged and play Zapin beat. Twenty-one-year-old Tuah and Jebat go off-stage, compose themselves, then start a Walking Meditation through the audience; establishing eye contact and mentally ‘consuming’ them. Tuah and Jebat stop and face each other. Zapin beat stops.

Tuah & Jebat

(calmly) Love.

Narrators play Zapin beat. Tuah and Jebat run back onstage and end in a Tableaux sitting cross-legged downstage left and right, facing audience. Zapin beat stops. Narrators cross downstage.

Farah

They must have enormous self-respect and respect for each other.

Gene

They were not only different from, but, so opposed to each other.

Farah

They eternally agreed that they may eternally disagree.

Gene

They were walking a fine line between love and hatred.

Farah

There was complete understanding and tolerance.

Gene

They were a time-bomb waiting to explode.

Farah

Eh, hello! Are we telling the same story?

Gene

Legend has it that for years, the five warriors - Hang Tuah, Hang Jebat, Hang Lekiu, Hang Lekir and Hang Kasturi, served Melaka loyally. Then, Hang Tuah was accused of having an affair with a palace maid and the Sultan of Melaka sentenced him to death. Hang Jebat retaliated by leading a revolt against the Sultan. Thousands died in his hands. Even the other three warriors could not stop him. Luckily for Melaka, Hang Tuah was not executed, but, imprisoned. So, the Sultan of Melaka called on Hang Tuah to save the day for Melaka.

Farah

So, there is more to the story. The moment of truth. The final confrontation.

Narrators cross upstage, sit cross-legged and play Ronggeng beat. Thirty-five-year-old Tuah and Jebat interpret their emotions in stylised Primal Movement as they speak. Ronggeng beat gets softer.

Jebat

Tuah, you cannot know the extent of my joy at seeing with my own eyes that you are alive and, yet, my sorrow at realising that the only reason I am seeing you is that you have come to kill me.

Tuah

Jebat, it is not my want, my wish or my will to execute you, my brother. But, like a man in a leaking boat, I am merely stopping it from sinking. You are that very leak and you are spreading. I have to save this country from drowning.

Jebat

The fisherman who could not catch a single fish all day blamed it on the boat; put the paddle to the boat instead of the waters, until it sprung this leak. Is it not the fisherman who is to blame should the boat sink?

Tuah

My duty to my country is not to question. It is to question those who question.

Jebat

Your duty. Your country. All our lives, all we have tried to do was our duty to our country. And in one moment, because of one moment of weakness, your country turns its back on all you have done all your life.

Tuah

So was Adam cast out by God for a taste of forbidden fruit.

Jebat

But, you are not Adam. Those we serve are not God.

Tuah

And you have not been an angel.

Jebat

Would you kill me?

Tuah

You would.

Ronggeng beat gets louder. Tuah and Jebat 'fight' (in stylised Primal Movement) until both reach exhaustion and 'collapse'. Ronggeng beat gets softer.

Jebat

Tuah, as long as the Taming Sari keris is in my hand, there is no way in the world that you can defeat me. This keris was the difference between you and I in the eyes of the Sultan and the people of Melaka. This keris they followed in rebellion against the Sultan. The same keris they used to follow in service to him.

Tuah

Jebat, it is the responsibility of the holder of the keris to ensure that its followers do not get lost. He is to blame if they are misled. He feeds them when they are hungry. He quenches their thirst. And it is he who has to answer to their wives and children should anything happen to them. If you are such a man, the keris is rightfully yours.

Jebat

I have led them astray.

Tuah

You have to lead them back.

Jebat

I have turned them into traitors.

Tuah

You have to turn them into patriots.

Jebat

I have made them disown Melaka.

Tuah

You have to make them belong in Melaka.

Jebat

All because of you, Tuah.

Tuah

Because you have to, Jebat.

Ronggeng beat stops. Tuah and Jebat face each other.

Jebat

Tuah, my brother, in the name of the Sultan and the people of Melaka, take this Taming Sari keris from my hand and take me into your arms.

Narrators play Asli beat as Jebat walks toward Tuah. Rebana bangs as they go into Tableaux of Jebat's death in Tuah’s arms. Narrators cross downstage to Jebat and prepare to take away his body. Tuah turns to face audience and sembah. Narrators carry Jebat’s body off stage left as Tuah looks on. Tuah exits stage left. Actors enter stage left, take their Curtain Calls and exit stage left.

CURTAINS

*

* *

* * *

* *

*

WONDERING WHERE THE TIGERS WENT

Characters

Gene, a fourteen-year-old male student

Johari, a fourteen-year-old male student

Madona, a fourteen-year-old female student

Hanuman, the God Monkey from the Ramayana epic played by Gene

Rusamas, the Golden Deer from the Ramayana epic played by Johari

Garuda, the Giant Bird from the Ramayana epic played by Johari

WONDERING WHERE THE TIGERS WENT

The backdrop is a huge, stage-spanning black screen with white cut-outs of Hanuman, Rusamas and Garuda - characters from the Balinese Ramayana Epic. Curtains open. Gene, Johari and Madona enter stage right and cross downstage.

Gene

Hey! (elicit audience response)

All

HEY! (elicit audience response)

Gene

My name is Gene.

Johari

I am Johari.

Madona

And I am Madona.

Gene

Actually, today we were supposed to present to you a story called "Wondering Where the Tigers Went".

Johari

In the story, we were going to incorporate Southeast Asian Performing Art Forms, and …

Gene

Southeast Asian Folktales and Legends, and …

Madona

(after a pregnant pause) Tigers! But, unfortunately, while we were doing our research, we encountered some major-ly unsolvable problems.

Gene and Johari look at Madona suspiciously.

Gene

Anyway, here we go.

Johari

Long before Hollywood, Broadway and the West End, we already had Southeast Asian Theatre. We even had several different forms of Wayang, like Wayang Kulit, Wayang Golek, Wayang Orang, which are still being performed to this day.

Gene

Long before D H Lawrence, Jane Austen and William Shakespeare, we already had Southeast Asian Literature. Folktales and Legends like Sang Kancil and Sang Nila Utama live to this day and are still being told.

Madona

But, unfortunately, the means of recording these performances and events did not come to Southeast Asia until much later in history. Only when Westerners came to Southeast Asia was there any attempt made at recording and preserving Southeast Asian Literature and Written History. In fact, did you know that during the time of Raffles a ship's worth of Malay writings were burnt and destroyed when a ship caught fire?

Gene and Johari look at Madona suspiciously.

Gene

Anyway,…

Johari

Since we cannot put on centuries of performances, we chose to focus on one form - Wayang Kulit.

Gene

Since we cannot tell centuries of stories, we chose to focus on one style - Sang Kancil.

Madona

And since there are no more tigers in Singapore, except in Mandai Zoo, there is absolutely nothing more to focus on.

Gene and Johari look at Madona suspiciously.

Johari

You did not do your research, did you?

Madona

Well, I, … The National Library and The National Heritage Board both don't…

Gene

How could you do this to us?

Johari

We already agreed on who was supposed to do what.

Gene

Now, without your input, what are we going to do?

Madona

No. You see, it wasn't really my fault.

Gene

How can you say it wasn’t your fault? You did not do your part. How could you be so irresponsible?

Madona

I tried. I really did. It's just that…

Gene

No, you didn't! If you did, then where are the results?

Madona

Like I was trying to say, there are no tigers in Singapore. Therefore it is very difficult to find anything about…

Gene

You are just plain hopeless! HOPELESS! You purposely 'sabo' us, right? You lousy mother…

Johari

For goodness’ sake! That's enough. Gene, can I talk to you for a minute? You, Madona, better come up with something. And fast. You take care of the audience for awhile.

Gene and Johari exit stage right.

Madona

(sheepish) Hello. Please excuse us. Tigers. Err, yes. Let's see if I can recall some things about tigers. (pauses) The last tiger in recorded history was killed in Choa Chu Kang in the year 1947. I think it was 1947. Recently, there were rumours about tiger sightings on Singapore's neighbouring islands. But, of course, these were merely rumours. They weren't properly proven or recorded. (pauses) Some of you study Literature, right? You read poetry, right? Have you ever heard this one? Tiger, Tiger burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry?

Hanuman enters upstage right.

Madona

Actually, I think the poet wrote more, but that is all I can remember. You know what? I think those lines he wrote are incredible. (goes into a Rap and tries to get audience going) Tiger, Tiger burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? (repeat) It makes the tiger sound like a mystical mythological creature, an animal that no 'mere mortal' could ever capture.

Hanuman

William Blake.

Madona

Huh? Excuse me, it's very rude to interrupt other people's conversation. Can't you see that I'm trying to tell them some useful information about tigers?

Hanuman

It was William Blake who wrote that poem. And he was wrong. He got it the wrong way around. It is the tiger who should fear man.

Madona

I know you. You look like one of those shadow puppet characters there on the screen.

Hanuman

Maybe if such words had not been written at all, man might have left the tiger alone in the wild where it belongs.

Madona

'Hanuman'. That's your name. You are a monkey God, right? Not bad! From a two-dimensional shadow puppet made of leather into a three dimensional creature that speaks. Wow! Can you teach me how to do that?

Hanuman

Will you shut up and start paying attention? You don't even know what happened to the tigers in your own country. It is because of people like you that there are no more tigers in Singapore.

Madona

People like me? How can you say that? I wasn't even there when it happened. How can I be blamed? What wrong have I done?

Hanuman

Do you know any mathematics? Listen to these figures. At the turn of the twentieth century, there were eight sub-species of tiger numbering more than 100,000. By 1998, the Chinese Year of the Tiger, three sub-species - the Bali, the Caspian and the Javan, became extinct and the remaining number was estimated at 5,000.

Madona

By those figures, you are saying that in around 100 years, we lost around 95,000 tigers.

Hanuman

So, if nothing was being done, by the year 2010, the next Chinese Year of the Tiger, we will have…

Madona

No more tigers anywhere on the planet. They will all be extinct.

Gene

At least you can count.

Madona

Hang on. You said, "if nothing was being done". But, some things are being done. We have the WWF, the World Wrestling Federation. They know what to do. Just give one “Tombstone Pile-driver” or a “Stone Cold Stunner” and finish off the problem!

Hanuman

(plays along) Or a “The People’s Elbow” or “F-Five”. (explains) There’s no more World Wrestling Federation. It’s now called the WWE, World Wrestling Entertainment. Besides, the WWF you are talking about is the World Wildlife Fund.

Madona

That one, also.

Hanuman

Unfortunately, they are already doing a lot. Those figures I gave you came from them.

Madona

Those figures cannot be correct. Tigers are revered animals. I mean, look at the Singapore crest. It has a lion and a tiger. On the Malaysian crest there are two tigers.

Hanuman

Maybe, one day that will be the only place you can find a tiger - on crests and in pictures.

Madona

How did it get this bad? Where did we go wrong? Whose fault was it?

Hanuman

Can you remember what the first animal on the moon was? And before you start talking about Hollywood movies, it wasn't Tom Hanks or Bruce Willis.

Madona

Hey, give me a little more credit than that!

Hanuman

I'll give you a clue. It was one of my distant relatives.

Madona

I've seen it on VCD, Neil Armstrong landing on the moon. Charles Darwin's theory of evolution claims that man evolved from monkeys.

Hanuman

I'm not talking about man. The first animal on the moon was a monkey. They could not send a man or a woman on the first trial.

Madona

Of course not! That would be too risky. (realises) Oh, so, some tigers died in order to help man.

Hanuman

In medicine.

Rusamas enters upstage right, crosses upstage centre and observes.

Madona

I have heard of tiger bones being used in medicine. That is a good thing.

Hanuman

Let me put it to you this way. (search audience) Excuse me. Yes, you. What's your name? Could you come up here, please? (assist student onto stage) Thank you for helping us out. Could you tell everyone your name? Class? Where’s your class? Ok _____ (student’s name), do you know what leukaemia is? (if not, give clue that it has something to do with blood cells) Do you have a best friend? What's your best friend's name? If _____ (best friend’s name) had leukaemia and your bone marrow could help save her/his life, should she/he kill you for your bone marrow? Are you sure? Thank you. (sends student back)

Madona

Thank you. Let's all give _____ (student’s name) a big round of applause. What about the rest of you? Should your friend kill you for your bone marrow? 'Yes' or 'No'?

Hanuman

What about you, Madona? What would your answer be?

Madona

Hmm. That's a difficult question. If you had leukaemia, of course I want to help save your life. But if you live and I die, then it's the same difference, right? But I don't want to die.

Rusamas

(crosses downstage) So, what's your answer, Madona?

Madona

Hey, Sang Kancil. What happened to your skin? Jaundice, is it? And for a mouse deer, you are very huge.

Rusamas

And for a young adult, you are very ignorant.

Madona

Oh! Sorry. You are not Sang Kancil. You are the Golden Deer from the Ramayana Epic, just like Hanuman. Hey, another Wayang Kulit character coming to life. But, that's too bad. If not you could have told us all the Sang Kancil stories.

Rusamas

I have stories of my own to tell. And they are worse than Hanuman's.

Madona

Can you tell a story in the style of the Sang Kancil stories? Rusamas

Yes, I can, provided the two of you help me out.

Hanuman

We have a choice? If it's one of your Sang Kancil stories, you'll have a trick up your sleeves anyway.

Madona

Don't mind him. He just lost a bone marrow. Come, Hanuman.

Rusamas crosses stage right; Madona and Hanuman cross stage left. Madona and Hanuman illustrate Rusamas' story with Tableaux, frozen and moving, as it is being told.

Rusamas

Once, there was a man. He had a friend. A very good friend. Just friends, nothing more. They spent all their days doing all things together. They never separated. One day, the man went to see Sang Kancil. He said to Sang Kancil,…

Rusamas whispers something to Madona.

Madona

(in a low pitch) "I want to rise to greater things. I want to realize my full potential."

Rusamas

And Sang Kancil said, "The key to your wants is in your friends mind. Acquire it and you would have acquired great courage and time will be in your hands." The man went off thinking about being courageous and controlling time. Days and weeks went by until one night, when his friend was sleeping, he mustered all the courage he had and cracked open his friend's skull.

Hanuman

Oi! That's too much.

Madona

Come on, it's only a story.

Rusamas

Yes, Hanuman. It’s only a story. Can we continue?

Hanuman

Ok, it's only a story.

Rusamas

The man mustered all the courage he had and cracked open his friend's skull. Then, he ate his friend's brain…

Madona

Oi! That's too much!

Hanuman

Come on, it's only a story.

Rusamas

Yes, Madona. It’s only a story.

Madona

But I am supposed to eat your brain. How can I eat monkey brain? (squirms)

Hanuman

You said so yourself. It's only a story. Let's continue to the end.

Madona

Ok, it's only a story. But I don't eat monkey brain, ok?

Rusamas

Ok, let's continue. Then he ate his friend's brain and lived happily ever after.

Hanuman applauds and celebrates. Madona is exasperated.

Madona

What kind of Sang Kancil story is that?

Hanuman

That is the “NC-16” version.

Rusamas

No children below the age of 16 are allowed unless accompanied by an adult.

Hanuman

That's what their teachers are for. Rusamas

When we finish the story, the teachers can explain to the students what it's all about. That's why the teachers watch the story along with them. (to teachers) Right, teachers?

Hanuman

(to Rusamas) What if the teachers don't watch our story? (look at teachers)

Madona

I think the story you just told even the teachers cannot understand. Let alone explain to the students.

Rusamas

Do you understand the story? (elicit audience response) Madona, do you understand the story?

Madona

(confident) It means it took all the courage he could acquire to kill his friend. That explains the part about him having great courage. But what about "time in his hands"?

Hanuman

He used to spend all his time with his friend. With his friend dead, he has all the time to himself.

Madona

Then, he'll be lonely. How can he live happily ever after?

Rusamas

He got what he wanted. Shouldn't he be happy? (hint, hint) You got the story you wanted. Shouldn’t you be happy?

Rusamas exits stage left.

Madona

That must be the most morbid Sang Kancil story I ever heard. "NC-16". I can't believe anyone would eat monkey brain.

Hanuman

But some people did. They ate turtles, snakes, bats, iguanas and, yes, monkey brain.

Madona

Yah, right! I suppose this took place in some far out exotic place deep in the jungles or far up in the mountains. They ate these things to attain mystical strength or spiritual enlightenment.

Hanuman

No.

Madona

No? You're going to tell me it happened in a modern city like New York or London?

Hanuman

No.

Madona

No? Ok, I give up. Where did this happen?

Hanuman

Right here in Singapore.

Madona

No-lah. Really? Who would do such things? (pause) Singaporeans are spoiled for choice when it comes to food. There's too much to choose from. Why would anyone want to go and eat turtles, snakes, bats, iguanas and monkeys? (pause) What for?

Gamelan Gong Kebyar music plays. Garuda enters upstage right. Hanuman sees Garuda. Garuda swoops down at Hanuman who escapes to downstage right. Garuda from upstage left sets eyes on Madona downstage centre. Garuda swoops down at Madona. Hanuman pushes Madona offstage into audience, taking her place. Madona hides and watches on. Garuda grabs Hanuman, flings him downstage left and crosses upstage right. Garuda and Hanuman clash centre stage. Hanuman, who is no match for Garuda, puts up a courageous fight but is beaten to a pulp. Hanuman expires. Garuda exits stage right, dragging Hanuman’s carcass.

Madona

(returns onstage) Oh, no! Hanuman is dead. (to audience) That giant bird is another character from the Ramayana Epic. I think he is called Garuda. I cannot believe Garuda killed Hanuman. It's so mean of Garuda to do that. Just because he is bigger, stronger and faster, he thinks he can bully Hanuman who is smaller, weaker and slower than him. And he very nearly got me, too. I only narrowly escaped. Lucky me! I certainly don't want to be in that position again. I felt so helpless. And my life was at stake! This must be what 'do or die' means. It is … scary. Really scary! Can you imagine what Garuda might have done to me? I hope none of you ever has to go through what I just went through. I hope no one at all has to go through what I just went through.

Rusamas enters upstage right and crosses to Madona.

Madona

(to audience) I'm sorry you had to witness that. So violent. So brutal. Savage.

Rusamas

Well, Madona, that is the way of the wild; Nature's way. The predator is meant to hunt down the prey. The predator needs to do that for his own survival.

Madona

Survival? (rhetorically) Garuda killed Hanuman for his survival. (makes the connection) So then, in the same way, it is not wrong for man to kill the tiger if it is going to be used for medicine. Because man needs the medicine for his survival.

Rusamas

It is not quite that simple. When the hunter is through with his meal, scavengers will finish off the remains of the carcass. Let's use this metaphor. If you go to the hawker centre to have Chicken Rice, they serve you parts of the chicken that you would eat, like chicken thigh, breast, wing or even the 'spare parts'. But what about the rest of the chicken, the parts that you don’t eat?

Madona

Ok, we can use the tiger bones to make medicine and the tiger skin as a fabric to make clothing. Tiger meat? … (rhetorically) So, what about the rest of the tiger? Do we need to kill the tiger at all?

Rusamas

You said just now that what Garuda did to Hanuman was violent, brutal and savage. Would it be different if you knew Garuda hunted Hanuman down for sport?

Madona

Hey, that's not fair! Sometimes people hunt down tigers not for sport, but because the tigers kill their livestock. These people are merely protecting their livelihood by killing the tigers for their own survival.

Rusamas

Is that a wise thing to do now that we know that tigers are in danger of becoming extinct?

Hanuman enters upstage right.

Madona

You are very difficult, you know? All your questions don't have any simple answers. I think even the O-levels are easier than your questions.

Hanuman

Maybe, you are thinking too hard. Why don't you put your thoughts into action? Fight back like I did with Garuda? (cross downstage)

Madona

Hanuman! You're alive! (overcome with emotion)

Rusamas

What you saw just now, Madona, was just a story.

Hanuman

It’s just a story.

Madona

But what is happening to the tiger is not. I'm so ashamed of myself. (starts to break down) And it was my assignment to find out about the tiger. (weeps) I've been irresponsible and I let my friends down …

Rusamas and Hanuman console Madona.

Rusamas

Ok, I think we have to take our leave now. We hope all of us have gained something from this experience.

Hanuman

We hope to see you again.

All

Bye!

Actors take their Curtain Call and exit stage left.

CURTAINS


THE KING WHO NAMED SINGAPORE

Characters

Gene, an actor and a Wayang Dalang (storyteller)

Chandran, an actor and a Gamelan conductor

Elizabeth, an actor

Sharief, an actor

Singha Pendita, a Malay prince played by Elizabeth

Sampeyan Malang, a Malay commoner played by Sharief

NOTE:

Ideally, akin to a Wayang Kulit performance where the puppeteer does the voices of the shadow puppet characters, Dalang Wayang does the voices for Singha Pendita and Sampeyan Malang as they remain in half-squat stance with arms ‘suspended’ at the elbows and wrists, and move like shadow puppets.

Alternatively, Singha Pendita and Sampeyan Malang could speak their own lines. Their stance and movements should still emulate those of shadow puppets.

THE KING WHO NAMED SINGAPORE

There is an aisle dividing the audience into two. Upstage is a white backdrop with a picture of the Wayang Kulit “Mountain of Life” (as Dalang sings Sya’ir, the words are projected on this screen), in front of which is the Pendita block with Pendita and Sampeyan costumes on it. Downstage right is the Dalang block with his costume on it. Downstage left is the Gamelan conductor block with his costume on it. These blocks are about 3 x 3 x 2 feet and rest on lockable wheels. Curtains open. Gene, Chandran, Elizabeth and Sharief, dressed in base costumes, enter stage right and stand in a row downstage.

Gene

Hi! (Elicit audience response) My name is Gene.

Chandran

My name is Chandran.

Elizabeth

My name is Elizabeth.

Sharief

My name is Sharief.

Gene

And that is the end of our performance. Thank you. Bye!

Chandran

Oi! Hello? We have not even started, you know?

Sharief

Yah! Hey, pai se (embarrassing) lah, like this. You think we can suka-suka (at pleasure) come and go just like that ah?

Chandran

What about the legend?

Gene

But we don't have our Gamelan, what? Right? How can we perform without our Gamelan?

All pause to ponder.

Chandran

They (audience) can be our Gamelan. (To audience) Could you be the Gamelan for us? (If not, we won't have a show.)

Gene

They don't know what to do. They don't even know what a Gamelan is!

Sharief

If they don't know, then we teach them lah.

Chandran

Could you help us? (Elicit audience response) If you could, say "Yea".

Gene

That's not good enough. (To audience) Those on the left side, say "Yea".

Chandran

(To audience) Now, those on the right side, can you be louder than those on the left? On the count of 3, say "Yea". Ready? 1-2-3!

Gene

(To audience) Left side, louder than them. 1-2-3!

Chandran

(to Gene) Right. There, you see? (to audience) Now, this is what you have to do.

Sharief

Let's just demonstrate it to them lah. Then they can see clearly, right or not?

Chandran

Ok.

Gene, Sharief and Elizabeth take places downstage centre sitting cross-legged in a row.

Chandran

(to audience) Watch closely. I'll count them off. 3-4!

All do 4-beat pattern sequence of actions (chest-slap; thigh-slap; clap; thigh-slap) repeatedly. When the actions are clear to the audience, Chandran crosses arms above his head; gesturing to stop. All stop.

Chandran

(to audience) When I do this (arms cross gesture), you stop. Got it? Now you try. Let's see your hands in the air. 3-4! (go through actions until stop) Let's try again. (repeat actions) That’s good. We also need forest sounds.

Chandran does a Tarzan yelp as a cue. Gene, Sharief and Elizabeth respond by making forest and animal sounds. Chandran elicits audience response and then gestures to stop. All stop.

Chandran

Sea!

Chandran waves fingers, arms outstretched in front of body with palms facing down and swaying side to side, while making “sh” and splashing sounds and elicits audience response with help from Gene, Sharief and Elizabeth.

Chandran

Wind!

Chandran holds arms straight out sideways with palms facing down while making “fuu” and “huu” sounds and elicits audience response with help from Gene, Sharief and Elizabeth. Consequently, Chandran turns it into a game - calling out whatever sounds he needs from the audience while Gene, Sharief and Elizabeth respond.

Sharief

Excuse me ah, can we start already?

Chandran

3-4!

Chandran does actions along with audience. Elizabeth and Sharief roll the Pendita block downstage centre, change into Pendita and Sampeyan costumes respectively (their costumes have stretchable strips attached from the elbows and wrists to the ankles, resembling Wayang Kulit characters) and go into Tableaux of prince and commoner; the prince always raised on the Pendita block. Gene goes to the Dalang block, changes into costume, lights incense and spreads the scent all over the performance space before returning. When all are in their places, Chandran gestures Gamelan (audience) to stop. On Chandran’s cue, Gamelan makes wind sounds. Chandran goes to the Gamelan block, changes into costume and sits cross-legged while conducting the Gamelan.

Dalang (singing Sya’ir)

Once, so long ago, Southeast Sumatra, In a time of myths, legends and heroes, Two babies were born, Singha Pendita, Sampeyan Malang followed where he goes.

Wind sounds stop. Gamelan plays 4-beat pattern.

Pendita

Sampeyan, my father is the Sultan, ruler of the kingdom, and your father is the Bendahara, advisor to the ruler. In time to come, will you be as loyal to me as your father has been to mine?

Sampeyan

Pendita, I believe it is your destiny to be the ruler of the kingdom. And it is my destiny to be your loyal servant.

Pendita

Sampeyan, had I then been born as your father's son and you as my father's son, then I would be you and you would be me. And it would then be my destiny as your father's son to be loyal to you, my father's son, just as your father is to my father and, as you say, you would be to me.

Sampeyan

Pendita, I don't know what you are trying to say. My common mind cannot understand your royal tongue.

Pendita

Sampeyan, it will be wrong of me to ask for any more than I deserve. I must prove worthy to be ruler. I must earn the loyalty of my people.

Sampeyan

Oh, like that ah.

Gamelan stops. Gamelan makes wind sounds.

Dalang (singing Sya’ir)

They grew up so strong and so full of flight. Each had hopes and dreams, driving ambition. What was to follow was beyond their sight. A twist in the tale, a change in mission.

Wind sounds stop. Gamelan plays 4-beat pattern.

Sampeyan

Pendita, we have received word that our enemies are planning to invade and take over our kingdom.

Pendita

Sampeyan, what is the meaning of this? How could they do such a deed?

Sampeyan

Pendita, this means 'war'. It has been said that all is fair in war.

Pendita

Sampeyan, this is our kingdom. No one else in the world has the right to take it over as their own.

Sampeyan

Pendita, could you voice what moves your troubled heart? What do you see fit to do in the face of our enemies?

Pendita

Sampeyan, we shall fight our enemies. And I shall prove worthy to be my father's son and the future ruler of our kingdom.

Sampeyan

Eh, cannot, Pendita! You are not ready yet to defend yourself. Furthermore, you are the heir to your father's throne. After your father, the enemies will set their tombak and their pedang after you. It will be better for us to just find a safe place for you in order to protect your life.

Pendita

Sampeyan, I must stay with my people and fight the enemies. If I desert them, how can I earn their loyalty to me when I am ruler of our kingdom?

Sampeyan

Pendita, no king, where got KING-dom?

Pendita

Oh, like that ah?

Sampeyan

Pendita, we must go. Gamelan stops. Gamelan makes wind sounds. Pendita gets off the Pendita block. Chandran and Sampeyan place the Pendita block offstage in the aisle as Pendita ‘boards’ it. Pendita and Sampeyan, accompanied by Chandran, prepare to venture forth.

Dalang (singing Sya’ir)

With threat of attack, defense was the word. To protect his life, unite the strongest. They gathered supplies to journey forward. To reach the ocean, they braved the forest.

Wind sounds stop. Gamelan makes forest sounds. Pendita and Sampeyan, accompanied by Chandran and Gene, cross 'forest' down aisle to the back of audience. Upon arrival, forest sounds stop. All sit around waiting for Gene to continue the story. All look at Gene, subtly trying to point out his crass mistake. When he realizes his mistake, Gene rushes back onstage. As Dalang resumes the story, Pendita and Sampeyan, accompanied by Chandran, sail through the ‘sea’ down aisle. Gamelan makes sea sounds.

Dalang (singing Sya’ir)

Seeking a new life, they sailed out to sea. Leaving history, home and family. The sea, now disturbed, fought to remedy. Replied with anger, blood-starved fury.

Gamelan’s sea sounds get more violent and become storm sounds.

Pendita

Sampeyan, has destiny forsaken me? Is it my fate that I should turn away and flee in the face of the enemy only to perish in the face of the sea?

Sampeyan

Pendita, it is customary to make an offering in exchange for what is desired. For the sake of our lives, what would you consider to be a fair sacrifice to make to the boiling sea?

Pendita

Sampeyan, as my father's son, it is my destiny to be king. I have forsaken my father's kingdom to escape the enemy. In the name of my father and all our kingly fathers before, I shall not bow down to any other earthly power until my skin dries on my bones.

Sampeyan

Pendita, are you willing to forsake the lives of your people for you to earn a place alongside your kingly fathers? Is that a fair price for them to pay?

Pendita

Sampeyan, order the men to throw all our supplies off the ship so that our chances of surviving this storm may be better.

Sampeyan

Pendita, everything of value that we brought onboard has been fed to the hungry sea. The only thing of value that is left is your crown.

Pendita

Sampeyan, I cannot lose this crown. It is the only symbol I have of my royal heritage.

Sampeyan

Pendita, it is our last hope of saving our selves. You must surrender your crown to the sea.

Pendita

Sampeyan, I cannot.

Sampeyan

Throw!

Pendita

No!

Sampeyan

Pendita, do you want all of us to die?

Pendita

NO! (in slow motion, throws crown to Chandran.)

Storm sounds stop. Pendita and Sampeyan, accompanied by Chandran, continue sailing in the calm after the storm.

Dalang (singing Sya’ir)

Singha Pendita, his rights sacrificed. Sampeyan Malang, loyalty strengthened. Peaceful Temasek, they were to, enticed, And restored spirits the storm had weakened.

Pendita and Sampeyan, accompanied by Chandran, ‘land’ (offstage), look all around them and are captivated by the sights they behold.

Dalang (singing Sya’ir)

Sands, white as the stars; soil, fertile and green. Flowers and colours bask in her glory. As if to welcome a fate as foreseen, They were greeted by a beast, so mighty.

Gamelan applauds and cheers. Pendita and Sampeyan respond. Gamelan plays 4-beat pattern.

Pendita

Sampeyan, I came to this land with nothing and as a nobody. This land has not only accepted me, but has heralded my arrival with fanfare and celebration. Here is where we shall build a land befitting a king.

Sampeyan

Pendita, you did not come here with nothing. You brought us here. And to us you are not a nobody. You are our leader. You will be our king.

Pendita walks onto stage. Chandran and Sampeyan place the Pendita block onstage. Pendita, Sampeyan, Dalang and Chandran go into a final Tableaux of king and subjects. Gamelan stops.

All (singing Sya’ir)

He spoke of justice and equality. A land for all man, from near and afar. Marking this birth of nation and country, What was Temasek was Singapura.

Actors take their Curtain Calls and exit stage left.

CURTAINS

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THE SWORDFISH'S GREATEST HITS

Characters

Dalifah, an actor

Munaji, an actor

Fidiyana, an actor

Zuraimi, an actor

Ikan Todak Utara, a swordfish from the North played by Dalifah

Ikan Todak Barat, a swordfish from the West played by Munaji

Ikan Todak Selatan, a swordfish from the South played by Fidiyana

Ikan Todak Timur, a swordfish from the East played by Zuraimi

Hang Nadim, a nine-year-old Malay boy played by Dalifah

Datuk Bendahara, an elderly Malay Prime Minister played by Munaji

Sultan Paduka Sri Maharaja, a middle-aged Malay king played by Fidiyana

Datuk Laksamana, a middle-aged Malay admiral played by Zuraimi

Dikir Barat Gamelan musicians

THE SWORDFISH'S GREATEST HITS

Dikir Barat Gamelan (e.g. consisting of Gong family, Rebana family, Talempong, Canang and Maracas) is seated upstage centre in front of backdrop with first lyrics written on it. Curtains open as Gamelan plays scene change chaser, stopping as actors stand in position. Dalifah, Munaji, Fidiyana and Zuraimi, in base costumes, enter stage right and cross downstage.

Dalifah

Hi! (elicit audience response) I think you can do better than that. Let’s try that again. Hi! (elicit audience response) That’s not loud enough. Let’s do it one more time. This time, when we say ‘hi’, all of you reply as loudly as you can. Ready? (to others) One-two-three…

All

Hi! (elicit audience response)

Dalifah

My name is Dalifah.

Munaji

I’m Munaji.

Fidiyana

I’m Fidiyana.

Zuraimi

And I’m Zuraimi.

Dalifah

And that is the end of our performance. Thank you. Bye-bye. (starts taking bows and waving to audience)

Munaji

(sternly) Excuse me, could you be serious for five minutes?

Zuraimi

(mimicking Bujang Lapok) Five minutes only. Five minutes. Come on. You’re my friend.

Dalifah

(giggling apologetically) I was just joking. Don’t take it seriously.

Munaji

All right. Anyway, we are here to perform a play for you entitled “The Swordfish’s Greatest Hits”.

Fidiyana

And we would like all of you to join us for the performance. Could you help us out by taking part in the play? (elicit audience response)

Munaji

That does not sound convincing enough. Could you help us out?! (elicit audience response)

Zuraimi

Thank you. That’s so nice of you. Now, watch carefully and I will demonstrate what you have to do. (crosses downstage centre and sits cross-legged) Two, three, four,… (Gamelan plays Wau Bulan beat simultaneously as Zuraimi goes through sequence of overhead clap, palm-up thigh-slap, palm-down thigh-slap and palm-up thigh-slap, repeatedly)

Fidiyana

Can you see what he is doing? Let’s all do it together. (gives ‘stop’ signal e.g. crossing arms overhead; others sit cross-legged in a row downstage) One – clap your hands over your heads. Two - with your palms facing up, slap your thighs. Three – with your palms facing down, slap your thighs. Four – with your palms facing up, slap your thighs again. Watch again. (count off actors) Two, three, four,… (do actions together with counts) One, two, three, four,… (continue for a few rounds, then give ‘stop’ signal) This signal is very important. When I give you this signal, whatever you are doing, you must stop. Let’s try that together. Two, three, four,… (all do actions with Gamelan and audience for a few rounds, then stop). (to other actors) How’s that? Do you think they are ready?

Munaji

(rises to his feet) I think we have to test them. (to audience) How about all of you try it on your own? (other actors join Munaji standing)

Fidiyana

I’ll count you off and you continue with the Gamelan until I give the ‘stop’ signal. Ready? Two, three, four,… (audience does a few rounds, starting, stopping and starting again on cue)

Zuraimi leads chorus singing while doing actions and referring to first lyrics on backdrop. Other actors take up positions sitting cross-legged in a row downstage and elicit audience to sing chorus while doing actions.

Zuraimi

Eh Hang Nadim, Eh Hang Nadim, The boy hero who saved Singapura.

Others

Eh Hang Nadim, Eh Hang Nadim, The boy hero who saved Singapura.

Others actors elicit audience to be silent while doing actions as Zuraimi leads.

Zuraimi

Eh Hang Nadim, Eh Hang Nadim, The boy hero who saved Singapura.

Zuraimi changes backdrop from first lyrics to map of ancient Singapore. Other actors elicit audience to sing chorus while doing actions.

Others

Eh Hang Nadim, Eh Hang Nadim, The boy hero who saved Singapura.

Fidiyana gives ‘stop’ signal. All stop. Gamelan plays scene change chaser, stopping as actors pose. All Actors change into Ikan Todak (swordfish) costumes, take up positions downstage and pose (a la “Power Rangers”).

Utara

I am Ikan Todak Utara. I am stationed in the waters North of Singapura. (breaks out of character; uses backdrop to show map of ancient Singapore and plan of attack) Ikan Todak is a type of fish common to the waters surrounding the Island of Singapura. The words ‘Ikan Todak’ in Malay means ‘garfish’ or ‘swordfish’. This fish is recognisable by a sword-like snout on its head over its mouth which can be used as a weapon. It can grow to about fifty centimetres in length from snout to tail. (back into character) I am the mastermind behind the Ikan Todak attack.

Timur

I am Ikan Todak Timur. I am stationed in the waters East of Singapura near Pulau Tekong. (breaks out of character and uses backdrop) The word ‘tekongan’ in Malay means container, taken from the term ‘tekongan air’ which means ‘water container’. Because of its shape which resembled a water container, the island was called Pulau Tekongan. It was shortened to Pulau Tekong and, over the years, became mispronounced as Pulau Tekong. (back into character) I will lead the Ikan Todak and attack Singapura from the East.

Selatan

I am Ikan Todak Selatan. I am stationed in the waters … (pauses to ponders) South of Singapura near Pulau Sentosa. (breaks out of character and uses backdrop) The original name of Pulau Sentosa or Peaceful Island is Pulau Blakang Mati because of a piece of land unsuitable for cultivation on a hill in the back of the island. Foreign invaders, however, took advantage of its strategic position. Both the British and Japanese used it as a battle fort. Many lives were lost on the island. It was probably named Pulau Sentosa to escape its dark history. (back into character) I will attack Singapura from the … South.

Barat

I am Ikan Todak Barat. (hurriedly) I am stationed in the waters West of Singapura. I will attack Singapura from the West. (to other Ikan Todak) Come on, let’s not waste anymore time. Let’s kill all these people already!

Utara

All right. (declamatory) Ikan Todak in position! Stand-by for attack! ATTACK!!!

Gamelan plays “attack” music. Timur goes off stage left, Selatan goes off stage centre and Barat goes off stage right into audience and run amok, ‘attacking’ the ‘people of Singapura’ as they shout “attack” and “kill”. Utara shouts along with them, but lies down onstage. After extensive ‘killing’, Timur, Selatan and Barat notice Utara and return onstage enraged, staring Utara down. Gamelan stops.

Timur

Utara, why did you send us out to attack Singapura while you just lie down and ‘relak one corner’? Are you trying to make fools out of us? Are you trying to make us look stupid?

Utara

No, Timur. The three of you don’t need my help to look stupid. You can do that all by yourselves. (sniggers, but notices others’ stern looks) Listen. You three are attacking Singapura from the open sea. So, you have to go out and attack the people. I, on the other hand, am strategically positioned in the waters North of Singapura, in the Straits of Johor. I don’t need to go to the people. The people will come to me when they try to go across to Malaysia. That is why I can lie down here and wait for them to come to me to die. Because, you see, I studied Singapura’s geography.

Timur, Selatan and Barat

Oh, I see! You studied Singapura’s geography.

Barat

(trying to put down Utara) Utara, why, then, have these (refers to audience) people not gone through you to go across to Malaysia?

Utara

Because they are in school watching a play about how Singapura was attacked by stupid Ikan Todak!

Selatan

(overly excited) There’s a play in a school? Where? I want to see the Ikan Todak.

Other Ikan Todak look at Selatan bemused and dejected. Selatan senses something amiss.

Selatan

Actually, why did we attack Singapura in the first place?

Over the next lines, Actors take off Ikan Todak costumes and get into position sitting cross-legged in a row downstage for Dikir Wau Bulan Hang Nadim.

Timur

The people of Singapura were mainly Orang Laut, Sea People, and fishing was their main source of living. The more they turned to fishing, the less food we Ikan Todak have in turn. (change backdrop from map of ancient Singapore to first lyrics)

Barat

When our food supply is not enough to sustain us, we will turn to other things we can find to eat.

Utara

That is the reason why the Ikan Todak attacked the Island of Singapura.

Fidiyana

(cueing audience and actors who are already in position) Two, three, four,…

All actors do actions with audience while singing Dikir Wau Bulan Hang Nadim.

Zuraimi

Eh Hang Nadim, Eh Hang Nadim, The Boy hero who saved Singapura.

Others

Eh Hang Nadim, Eh Hang Nadim, The Boy hero who saved Singapura.

Zuraimi

After the death of the founder, Sang Nila Utama, Ikan Todak attacked Singapura. All the people, Bendahara, Pendekar Laksamana, Fought with their lives to save Singapura.

Others

Eh Hang Nadim, Eh Hang Nadim, The Boy hero who saved Singapura.

Fidiyana gives ‘stop’ signal. All stop. Gamelan plays scene change chaser, stopping as actors pose. All actors change into Istana (palace) costumes, take up positions downstage and pose (a la Malay Palace Court).

Sultan

Our name is Paduka Sri Maharaja. We are the new Sultan of Singapura. We are a descendent of the great king Sri Tri Buana - Sang Nila Utama, the first Sultan of Singapura, himself a descendent of the great king Iskandar Zulkarnaen - Alexander, The Great, the first ruler of two continents, Europe and Asia. Are We to be known as the Sultan who lost his country to a school of fish?

Laksamana

(sembah - places palms together over forehead) Ampun, Tuan ku. Forgiveness, my Lord. Datuk Laksamana seeks your audience.

Sultan

Please excuse Us, Datuk Laksamana. (to Bendahara) Datuk Bendahara, why is Datuk Laksamana asking for forgiveness? He has done nothing wrong to Us.

Bendahara

(sembah) Ampun, Tuan ku. It is our custom to ‘sembah’, bow to the Sultan and that is what one should say when one ‘sembah’.

Sultan

But We do not want Our people to walk around feeling guilty and asking for forgiveness. We want them to be happy especially when they meet Us. Change this custom!

Bendahara

(sembah) As you wish, Tuan ku. (declaiming) It is the order of His Majesty, Paduka Sri Maharaja, that from this day on, when the people of Singapura ‘sembah’ the Sultan, they should be happy - ‘bahagia’. (to Sultan) Bahagia, Tuan ku. Happiness, my Lord.

Sultan

That’s better.

Laksamana

(sembah) Bahagia, Tuan ku. Datuk Laksamana seeks your audience.

Sultan

Yes, Datuk Laksamana.

Laksamana

(sembah) Bahagia, Tuan ku. The royal plan of building a fortress out of the calves of the people of Singapura standing along the shoreline to stop the Ikan Todak is not working, Tuan ku.

Sultan

How could that be? If the people of Singapura make a fortress out of their calves by standing along the shoreline, surely none of the Ikan Todak can get through to the Island.

Laksamana

(sembah) Bahagia, Tuan ku. That is true. However, as the people stand along the shoreline, the Ikan Todak jump out of the water and stab the people with their snouts. Many of our people have sustained injuries. Some have even died, Tuan ku.

Sultan

(referring to Hang Nadim) Is this boy one of the injured? Why is he giggling?

Bendahara

How could you be laughing in the face of such a calamity? Explain yourself, boy!

Hand Nadim

(sembah) Bahagia, Tuan ku. Hang Nadim seeks your audience. I am the nine-year-old son of my father, a Malay warrior, Tuan ku.

Sultan

Did you hear that, Datuk Bendahara? This nine-year-old boy is a Malay warrior!

Bendahara

(sembah) Bahagia, Tuan ku. No, he is not. His father is a Malay warrior. Not him, Tuan ku.

Sultan

Oh, We see!

Hang Nadim

(sembah) Bahagia, Tuan ku. I was laughing because I think there is a simple solution to this problem. Instead, you have sent our people out to the shoreline to die, Tuan ku.

Bendahara

What? How dare you say such a thing to the Sultan? (sembah) Bahagia, Tuan ku. This boy has disrespected you and should be punished, Tuan ku.

Laksamana

Datuk Bendahara, Hang Nadim’s behaviour may be rather crude. But perhaps we should hear out what solution he has to offer first. We have already lost lives. What have we got to lose by listening to him?

Sultan

You are right, Datuk Laksamana. Very well, Hang Nadim, what do you think would be a better plan, Our dear boy?

Hang Nadim

(sembah) Bahagia, Tuan ku. Use batang pisang, banana stumps to make the fortress. That way, when the Ikan Todak attack, they will get their snouts stuck on the batang pisang, Tuan ku.

Bendahara

No! That is ridiculous!

Laksamana

Yes! That is very clever! While the Ikan Todak are stuck on the batang pisang, we use our keris (takes out keris) to kill them.

Sultan

Datuk Laksamana, what if your keris is not big enough to kill the Ikan Todak?

Laksamana

(sembah) Bahagia, Tuan ku. Then, we will use our parang (takes out parang) to kill them, Tuan ku.

Sultan

What if your parang is not big enough to kill them?

Laksamana

(sembah) Bahagia, Tuan ku. Then, we will use our pedang (takes out pedang), Tuan ku.

Sultan

If your pedang is not big enough? Laksamana

(sembah) Bahagia, Tuan ku. We will use our tombak (takes out tombak), Tuan ku.

Sultan

What if your tombak…, never mind. I get the picture. Very well, Datuk Bendahara, do what is necessary.

Over the next lines, Actors take off Istana costumes and get into position sitting cross-legged in a row downstage for Dikir Wau Bulan Hang Nadim.

Bendahara

(sembah) As you wish, Tuan ku. (declaiming) It is the order of His Majesty, Paduka Sri Maharaja, that we carry out Hang Nadim’s plan of using batang pisang to build the fortress along the shoreline.

Fidiyana

(cueing audience and actors who are already in position) Two, three, four,…

All actors do actions with audience while singing Dikir Wau Bulan Hang Nadim.

Zuraimi

Eh Hang Nadim, Eh Hang Nadim, The Boy hero who saved Singapura.

Others

Eh Hang Nadim, Eh Hang Nadim, The Boy hero who saved Singapura.

Zuraimi

Batang pisang was what they used just as a strong fortress, All up in arms against their attackers. Keris, parang, pedang, tombak, made the blue sea merah, All victorious, they saved Singapura.

Others

Eh Hang Nadim, Eh Hang Nadim, The Boy hero who saved Singapura.

Fidiyana gives ‘stop’ signal. All stop. Gamelan plays scene change chaser, stopping as actors pose. All actors change into Ikan Todak (swordfish) costumes, take up positions downstage and pose (a la “Power Rangers”). As Selatan speaks, Timur changes backdrop from first lyrics to map of ancient Singapore.

Selatan

(not realising the gravity of the situation) Excuse me, Barat, Utara and Timur, look at the waters around us. The blue sea water has turned red from the blood of our Ikan Todak friends. (sniffs) And it’s beginning to smell of dead fish.

Timur

It seems hopeless. When we attack, we get our snouts stuck on the batang pisang and the people of Singapura easily kill us with their weapons.

Barat

Let’s plan another strategy of attack. Let’s regroup, brainstorm for ideas and come up with something to overcome this situation.

Timur

That will take too much time. We need an answer now!

Selatan

Utara, you haven’t said anything at all. (pauses to ponder) Why are you giggling? (overcome by curiosity) What’s so funny? What’s the joke? Come on, you can share it with me.

Utara

(ignoring SELATAN) Don’t worry, Timur, Barat. Humans have been known to be self-destructive. We won’t need to do anything. Just you wait and see.

Timur

Are you saying that the people of Singapura will do something that will solve our problems?

Utara

Yes. It’s that simple.

Barat

How can you be sure?

Utara

Because, you see, I studied Singapura’s history.

Timur, Selatan and Barat

Oh, I see! You studied Singapura’s history.

Gamelan plays scene change chaser, stopping as actors pose. Zuraimi changes backdrop from map of ancient Singapore to second lyrics. All actors change into Istana (palace) costumes, take up positions downstage and pose (a la Malay Palace Court). During Dikir Karut Hang Nadim, Gamelan plays double-time and only during choruses when all actors sing as they do overhead clap on the first of every two beats, leaving audience free to join in or just watch.

Bendahara

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Laksamana

Eh Hang Nadim has potential, To get on top and rule the world.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Bendahara

(sembah; then speak in free-form) Bahagia, Tuan ku. With the success of his plan, Hang Nadim has become very popular among the people of Singapura. Some say he is even more popular than the Sultan, Tuan ku.

Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Laksamana

(sembah; then speak in free-form) Bahagia, Tuan Ku. With his popularity, the people of Singapura will support Hang Nadim. With his help, we can get the people of Singapura to join hands and stand together as one, Tuan ku. Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Bendahara

(sembah; then speak in free-form) Bahagia, Tuan ku. Hang Nadim is a descendent of a warrior from a foreign country. He can gather the people of Singapura and lead them in rebellion against the Sultan, Tuan ku.

Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Laksamana

(sembah; then speak in free-form) Bahagia, Tuan ku. Hang Nadim being a descendent of a warrior will make the people have faith in his leadership. They will bravely fight with him in the name of the Sultan and for the future of Singapura.

Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Bendahara

(sembah; then speak in free-form) Bahagia, Tuan ku. Hang Nadim is more intelligent and has better foresight than you. He can outsmart you and overthrow you to become the next Sultan of Singapura, Tuan ku.

Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Laksamana

(sembah; then speak in free-form) Bahagia, Tuan ku. Hang Nadim can work with you, utilising his intelligence and foresight. With his services, he can help you become the greatest Sultan Singapura has ever known, Tuan ku.

Gamelan plays.

All

Eh Hang Nadim has potential, To get on top and rule the world. Eh Hang Nadim has potential, To get on top and rule the world.

Gamelan stops.

Sultan

Enough! We have heard enough.

Laksamana

(sembah) Bahagia, Tuan ku. What is your decision, Tuan ku?

Sultan

Datuk Laksamana, We are not convinced by your defence. Rather, Datuk Bendahara has convinced us that Hang Nadim is, beyond doubt, a threat. Datuk Bendahara, put Hang Nadim to death by drowning.

Over the next lines, Actors prepare for Hang Nadim’s execution.

Bendahara

(sembah) As you wish, Tuan ku. (declaiming) It is the order of His Majesty, Paduka Sri Maharaja, that after sunrise in the morning to follow, at Tanjung Malang, Hang Nadim will be put to death by drowning. He will be chained to stones and thrown into the sea.

Actors in position for Hang Nadim’s execution. Zuraimi changes backdrop from second lyrics to map of present day Singapore.

Laksamana

Hang Nadim, are there any last words you would like to share with the people of Singapura?

Hang Nadim looks out at audience in silence; then smiles to, waves at and blows kisses to them. Over Laksamana’s next lines, Hang Nadim is executed.

Laksamana

(uses map) People of Singapura, this place now known as Tanjung Malang will, after Hang Nadim’s death, be known as Batu Berantai and, in the future, Marina Bay. When you visit the Esplanade Theatres on the Bay, you can look out at the waters towards Makam Habib Noh at Palmer Road and see Hang Nadim’s grave. If you were to venture out onto the waters, you might even hear Hang Nadim’s cries and the sounds of these chains and stones.

Gamelan plays Dikir Wau Bulan Hang Nadim.

All

Eh Hang Nadim, Eh Hang Nadim, They killed the boy who saved Singapura. Eh Hang Nadim, Eh Hang Nadim, They killed the boy who saved Singapura.

All actors take their Curtain Call and present Dikir Barat Gamelan to audience. Gamelan plays scene change chaser until end. Dikir Barat Gamelan musicians and actors exit stage left

CURTAINS.

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WHO STOLE THE SUN

Characters

Sage, an elderly storyteller

Saturn, a twelve-year-old child

Mercury, a twelve-year-old child

First Elder, an elderly statesperson played by Sage

Second Elder, an elderly statesperson played by Saturn

Third Elder, an elderly statesperson played by Mercury

Lazy Ass, a puppet donkey played by Sage

Limp Cock, a puppet chicken played by Saturn

Wet Pussy, a puppet lion played by Sage

Wilted Bird, a puppet vulture played by Sage

Eugene, an actor

Su Ping, an actor

Cleo, an actor

WHO STOLE THE SUN

The backdrop comprises three arches for puppets positioned stage right, upstage centre and stage left; between the arches are pieces of cloth (about 2 metres in height) to which costumes are attached with Velcro. The arches and pieces of cloth span the stage. Curtains open. Sage enters stage right, crosses downstage centre, studies audience, carves a psychotic smile and begins.

Sage

Hello! Hello? (elicit audience response) Thank you. I am the Old Master Sage who lives on the hills. And I am here to share with you a wonderful story. A story so wonderful, it will remain in your hearts and your minds for a long time to come. A story that will be told over and over, generation after generation. A story of love … and hate. A story of joy … and suffering. Of peace … and chaos. Of Triumph … and failure. Excitement … and…

S&M cut in from offstage.

S&M

… BOAR-RING!!!

S&M enter stage right and cross downstage

Sage

I beseech your accommodation!? That’s a crass grammatical error you made!

Mercury

Old Master Sage, we think you have been living on the hills a little too long.

Saturn

Too long! Yes, too long.

Sage

But, I’ve only been on the hills for fifty years. That’s only half a century!

Mercury

The way you tell stories is old fashioned and boring!

Saturn

Boring! Yes, old fashioned and boring.

Sage

But the trees and the clouds have never complained about how I tell my stories. They just listen quietly!

Saturn

Perhaps, our audience needs …

Mercury

…visual stimulation!

Saturn

Yes, visual stimulation! As much as they want to listen quietly, like the trees and clouds, …

Mercury

…they want to watch! Tell you what, you tell the story and we will help visualize your words.

Saturn

Yes, we will help visualize your words. (to Mercury) Visualize his words?

Sage

How will you succinctly accomplish that?

Saturn

(to Mercury) Yes, how will we … (to Sage) suck what?

Mercury

With our BODIES!

Saturn

(to Mercury) With our BODIES?! (figures it out) OH! Yes, with our bodies.

Sage

(recovering from shock) Most worthy gentle ladies and gentle men of the audience, would you like to see these two bodies in action? (elicit audience response) Well, rather than present a boring story …

Mercury

…(picks up energy) let’s start over again! I am “Mercury”, …

Saturn

…I am “Saturn”, …

Sage

…and I am the Old Master Sage who has lived on the hills for the last fifty years. Our story is called …

Sage and S&M

“Who Stole the Sun?”

Sage crosses downstage centre, Saturn crosses stage right and Mercury crosses stage left, standing in their positions for the beginning of the story.

Sage

Once, in a distant time, in a distant place, in a distant corner, of a distant … (space)

Mercury

(sarcastically) Sage!

Sage

(clears throat) There was a land called Metropolasia. Its people were technologically advanced but spiritually … retarded.

Mercury

(sternly) SAGE!!!

Sage

Alright, alright! Every morning, they would wake up (S&M mime with vocal sound effect), say a prayer (S&M mime with vocal sound effect), get out of bed (S&M mime with vocal sound effect), brush their teeth (S&M mime with vocal sound effect), have a shower (S&M mime with vocal sound effect), put on their clothes (S&M mime with vocal sound effect) and go to work (S&M mime with vocal sound effect). They work very, very hard (S&M mime with vocal sound effect). In their spare time, they had recreation (S&M mime with vocal sound effect) … and procreation (S&M mime with vocal sound effect). Everything was provided for (S&M mime with vocal sound effect). Then, one day, the Council of Elders came together (S&M change into costumes for Second and Third Elders) … and had an emergency meeting (Sage changes into costume for First Elder) … because …

Music introduces a March number “The Missing Sun” featuring First, Second and Third Elders.

SONG - THE MISSING SUN

Song ends. Second and Third Elders change into costumes for Saturn and Mercury, cross upstage right and begin miming playing on a playground in the dark. First Elder crosses downstage left and face audience.

First Elder

Mercury! Saturn! What are you doing outside?

S&M

HOMEWORK!

Elder (Sage)

(rhetoric aside) How can you do your homework outside in the dark? There is no sun. No light. No … Never mind. (to S&M) Could you come inside, please? I need your help with something.

S&M stop ‘playing’ and cross downstage to First Elder.

S&M

Peace to you, dear Elder!

Elder (Sage)

Peace to you, Mercury, Saturn. Where is the homework you said you were doing?

Saturn

(hesitates) Homework? Er …

Mercury

Outside. We are not finished yet. We will return to it later.

Saturn

Yes, we’ll finish it later.

Elder (Sage)

Good. You can leave that aside for now. Now, the reason I have called you both here has to do with all this darkness around us. You need to do something about it.

Mercury

But it wasn’t our fault! It has nothing to do with us!

Elder (Sage)

Of course! I know you two have nothing to do with it. However, I am here to ask for your help. I think the two of you are most suited for it.

Saturn

What is it you want us to help with, dear Elder? And why us?

Elder (Sage)

As you would probably have noticed, something has happened to our sun. Metropolasia is now completely covered in darkness. The Council of Elders was just singing about how deeply concerned it is and wishes to get to the bottom of this. In this effort, I am offering the two of you to venture out into the hills to look for the Old Master Sage, who has lived on the hills the last fifty years, to look for answers.

Mercury

Do we have a choice, dear Elder?

Elder (Sage)

Of course … (S&M laugh and cheer) NOT! (S&M silent; Sage laughs and cheers)

Saturn

Dear Elder, how will we know the Old Master Sage and how do we find the Old Master Sage? And when we do, what shall we say to the Old Master Sage?

Elder (Sage)

Do not worry about such frivolous details. You will not find the Old Master Sage; he will find you. And when he does, say to him, “Old Master Sage, our dear wise one, please, won’t you say, who stole the sun?”

Saturn

Hey, that rhymes!

Mercury

Of course, that’s how the Old Master Sage speaks.

Elder (Sage)

Say it for me.

S&M

Old Master Sage, our dear wise one, please, won’t you say, who stole the sun?

Elder (Sage)

That’s right. Now, go get your things and prepare to go!

Sage exits behind backdrop and prepares Lazy Ass puppet. Music introduces a Rap number “Who Stole The Sun” featuring S&M. S&M put on extreme sports gear from backdrop as they Rap to each other. Lazy Ass appears at stage right arch, watches them and dances along.

RAP - WHO STOLE THE SUN

Mercury

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Saturn

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

S&M

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Rap number ends. Mercury crosses downstage centre and starts doing stretching exercises.

Mercury

Saturn, go get the rest of our things for the trip. We have no time to waste.

Saturn

Right, Mercury. (hesitates) Er, … where are we going?

Mercury

Into the hills to look for the Old Master Sage and ask him who stole the sun!

Saturn

Right!

Saturn exits behind backdrop and prepares Limp Cock puppet. Mercury continues stretching exercises.

Lazy Ass

Mercury, please don’t mind my asking, h’or. You look like you are about to enter a race, but … where are you two going, h’or?

Limp cock appears at stage left arch.

Mercury

Saturn and I are going on a choice-less adventure! We may have no choice, but we will still have an adventure!

Limp Cock

But-but-but, isn’t it dangerous to go out it the dark? But-but-but, what do you have to do that is important enough for you to go out in the dark?

Mercury

Saturn and I are going into the hills to find the Old Master Sage and ask him who stole the sun. The Old Master Sage has lived on the hills for the last fifty years.

Lazy Ass

Oh, he, h’or! The people of Metropolasia miss him after fifty years, h’or?

Mercury

Miss him? Saturn and I don’t even know him.

Limp Cock

But-but-but, why should you go look for him if you don’t miss him? But-but-but, you don’t need to ask the Old Master Sage who stole the sun. We can tell you who stole the sun.

Mercury

Really?

Limp Cock

But-but-but, I don’t think you will believe us when we tell you. But-but-but, anyhow, it is the Lord of the Forest, the Lion. Mercury

The Lion? Why would the Lion steal the sun? What would the Lion gain from stealing the sun?

Lazy Ass

He, h’or, is not looking to gain anything. He, h’or, is just getting even with the people of Metropolasia. You, h’or, don’t know how angry you have made him. You, h’or, have to go far back in time to understand how you made him angry. Let me, h’or, explain. He, h’or, is the Lord of the Forest. He, h’or, is a predator. And we, h’or, are his prey.

Limp Cock

But-but-but, people domesticated us, took us into their homes. But-but-but, people used us to help work the soil, provide food, provide milk and even provide items of clothing. But-but-but with technological advancement, people can use less of us to produce more. But-but-but instead of releasing us, we are locked up for other people to come and look at or just for fun. So, the Lion, our predator, still cannot feed on us, his prey.

Mercury

I think Saturn and I have to be very careful when we go through the forest to reach the hills. Otherwise, the Lord of the Forest, the Lion, might just prey on us.

Limp Cock

But-but-but, why are you still going into the hills? But-but-but, we already told you who stole the sun. But-but-but, you don’t need to take any risks. But-but-but, I can’t watch this. I can’t handle it. (exits)

Lazy Ass

(sigh) People are more obstinate than mules, h’or.

Mercury

Don’t worry so much, Chicken, Donkey. We will be prepared. Good-bye!

Lazy Ass

Good-bye and good luck!

Lazy Ass exits. Sage prepares Wet Pussy puppet. Saturn enters from backdrop with two haversacks.

Mercury

Saturn! Saturn, what took you so long?

Saturn

Sorry, Mercury. It’s dark. I can hardly see.

Mercury

Let’s go!

Music introduces a Rap number “Who Stole The Sun” featuring S&M. S&M rap and, over every two lines, mime walking through clearing, bushes, swamp and forest.

RAP - WHO STOLE THE SUN

Mercury

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Saturn

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

S&M

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Rap number ends. Wet Pussy appears at centre arch. S&M sense that they are being watched.

Mercury

Saturn, do you hear something?

Wet Pussy disappears. Pause. Wet Pussy slowly appears as Saturn speaks.

Saturn

Okay, I farted. I’m sorry. I was hoping I could get away with it because we’re all sweaty and smelly … (and all that)

Mercury

Shh! It’s not that. Listen!

Wet Pussy disappears. Pause. Mercury smells Saturn’s fart. Wet Pussy slowly appears as Mercury speaks.

Mercury

Phew, Saturn, that’s some nasty fart you made. What did you have for breakfast, scrambled eggs and baked beans again?

S&M laugh and tease each other, trying to wipe the smell of the fart away. Together, they get the sense that they are being watched. They slowly turn around and see …

S&M

LION!!! (scream)

Mercury goes straight for Wet Pussy and starts attacking him. Saturn goes hysterical and runs around everywhere, getting nowhere, screaming for help. During his scuffle with Mercury, Wet Pussy lets out a deafening roar heard through the forest, throwing Mercury back. S&M freeze; staying completely still.

Wet Pussy

(as if mewing like a cat) Well, what did you do that for? That really hurt.

Mercury

You stole the sun. And now, Metropolasia is in complete darkness.

Saturn

(to Mercury) Lion stole the sun?

Wet Pussy

Well, why would I steal the sun?

Saturn

(to Mercury) Why would Lion steal the sun?

Mercury

You want to get back at the people of Metropolasia for taking away your prey from the forest.

Wet Pussy

Well, who told you that?

Saturn

(to Mercury) Who told you that?

Mercury

Our Donkey and Chicken.

Wet Pussy

Well, do you believe them?

S&M

Of course we believe our Donkey and Chicken!

Saturn

They have no reason to lie to us.

Wet Pussy

Well, if I were angry at the people of Metropolasia for taking away my prey from the forest, enough to steal the sun from the sky, don’t you think I would have devoured the two of you down to your bones?

S&M

YES!

Wet Pussy

Well?

S&M look at each other; bewildered.

Mercury

Maybe, you just had your dinner.

Saturn

Maybe, you are fasting.

Wet Pussy

Well, the truth is, my carnivorous days are far behind me. Well, the shortage of food supply in the forest had me starving for days on end. Well, the many days without food have put me in touch with my spiritual being. Well, now I am a completely new animal and I am a vegetarian.

Mercury

(correcting Wet Pussy) You mean ‘herbivore’.

Saturn

How can that be? You are Lion, Lord of the forest.

Wet Pussy

Well, people might call it ‘evolution’. I call it ‘enlightenment’. Still, it may have also had something to do with the water from the streams that I drink from. Well, for a long time now, every winter we had in this forest has brought with it yellow snow.

S&M

Yellow snow? (shock)

Wet Pussy

Well, the yellow snow then melts into the streams.

S&M

Yellow water? (squirm)

Mercury

So, if you, Lion, Lord of the forest, are not the one who stole the sun, who is?

Wet Pussy

Well, it has to be the Vulture, Lord of the sky. He is probably angrier at you than I am.

Saturn

The Vulture is a scavenger picking on scraps of leftovers. What could the people of Metropolasia possibly have done to make the Vulture angry?

Wet Pussy

Well, let me put it to you this way. When you use your PC, to keep hard copies of your homework, you need …?

Mercury

Paper.

Saturn

Yes, paper.

Wet Pussy

Well, paper comes from …?

Mercury

Wood.

Saturn

Yes, wood.

Wet Pussy

Well, wood comes from …?

Mercury

Trees.

Saturn

Yes, trees.

Wet Pussy

Well, birds nest in the trees. So, the more paper you use …

Saturn

…the more bird shit we hand in as our homework!

Mercury

No! The more homes of the birds we destroy! Saturn, let’s quickly look for the Vulture.

Wet Pussy

Well, you don’t have to. The Vulture has been watching us all this while.

Mercury

How do you know that?

Wet Pussy

Well, Saturn himself said that the Vulture picks on scraps of leftovers. The Vulture has been waiting for me to pin you down and tear you up, so that when I am through with you, he can pick on whatever’s left of you. Well, since I am now a vegetarian, the Vulture can now have his lion’s share of you. Nice knowing you!

Wet Pussy exits. Sage prepares Wilted Bird puppet.

S&M

NOOOOO!!!

S&M run around the stage, looking up at the sky and apologizing to Wilted Bird until Wilted Bird makes his appearance; ‘pacing’ back and forth along the backdrop while staring at them.

Wilted Bird

SILENCE!

S&M drop to their knees; crouching and facing audience.

Mercury

Vulture, please don’t eat us.

Wilted Bird

I will not eat you.

Saturn

We are really sorry about the nests in the trees.

Wilted Bird

You should understand that the trees you destroy will take a lifetime to replace and in that time, the birds that nest in trees will be without their natural homes. So, do not be surprised when flocks of birds start moving into people’s homes to nest. That’s one of the differences between humans and animals: animals adapt to suit their environment, while humans adapt the environment to suit them.

Saturn

Could you please return us the sun?

Wilted Bird

Unfortunately, I am not the one who stole the sun. I believe God has taken away the sun and if you want it back, you will have to speak to God. To try to speak to God, you have to go to a higher place to get closer to God. (silently exits)

Mercury

How do we get there?

No answer.

Saturn

Could you help fly us to a higher place, please?

No answer. Saturn looks around, realizes that Wilted Bird is gone and gets up. Smiles at Mercury.

Mercury

Please, please, Vulture, would you help us? Now that we know and understand the world we live in better, we will mend our ways to take care of it.

Saturn

Mercury, the Vulture is gone.

Mercury

What? (looks around and quickly recovers) That was a close one!

Saturn

Mercury, I think it’s time for you and I to go home. I am not enjoying this adventure anymore. I’m scared. Let’s just go home.

Mercury

Wait, Saturn. I just thought of something. Donkey and Chicken said Lion was the one who stole the sun … and they were wrong. Lion said Vulture was the one who stole the sun … and he was wrong. Vulture said God was the one who stole the sun. What if Vulture is also wrong?

Saturn

So, you are right. Everybody is wrong. Right, let’s go home!

Mercury

No. Let’s do as Vulture said, “go to a higher place”, up the hills. Even if we don’t find God, we might still find the Old Master Sage. Maybe, the Old Master Sage is the only one who can tell us who stole the sun. At the very least, we can go back to the Elders and say we found him … and got closer to God.

Saturn

(declamatory) Old Master Sage, you are our last hope.

Music introduces a Rap number “Who Stole The Sun” featuring S&M. S&M mime rope-climbing on the side of a cliff. Sage enters and jogs around the stage, finds a spot and starts doing Tai Chi exercises.

RAP - WHO STOLE THE SUN

Mercury

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Saturn

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

S&M

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Rap number ends. S&M stand on either side of Sage; looking at him curiously.

Sage

(doing Tai Chi exercises) I have one big melon. I cut my melon into two. I give half to you and half to you. Now I have no melon.

Mercury

Hello there Wise Old Master Sage, (pointing to Saturn) this is Saturn…

Saturn

…and (pointing to Mercury) this is Mercury.

Sage

(continues Tai Chi exercise) I have one big melon. I cut my melon into two. I give half (to Mercury) to My Curry…

Mercury

(half laughing) “Mer-cu-ry”.

Sage

(to Mercury) As you wish … and half (to Saturn) to Say Turn.

Saturn

(offended) SATAN?! No, that’s “Saturn”!

Sage

(to Saturn) As you wish. (continues exercising, criss-crossing hands touching body parts mentioned, in Tai Chi style, repeatedly) Knee-shin-toe, waist, hair! Knee-shin-toe, waist, hair! …

Mercury and Saturn join in.

Sage and S&M

Knee-shin-toe, waist, hair! Knee-shin-toe, waist, hair! Knee-shin-toe, waist, hair! …

Gradually, all pick up the tempo until they set a ‘beat’ (to the tempo of Song and Rap number). Music introduces a Song and Rap number “Who Stole The Sun” featuring Sage and S&M.

SONG and RAP - WHO STOLE THE SUN

Mercury (rapping)

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Saturn (rapping)

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Sage (singing)

Every seed in soil, Every flower, bloom Every leaf that falls, Every tree you groom Everything you see, Everything you need Everything you touch, Everything you feel

Saturn (rapping)

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Mercury (rapping)

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Sage (singing)

Every beak and paw, Every feathered wing Every webbed claw, Every voice that sings Everything you see, Everything you need Everything you touch, Everything you feel

Mercury (rapping)

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Saturn (rapping)

Old Master Sage, Our dear Wise One Please won’t you say, Who stole the sun

Sage (singing)

Every fur and pore, Every hide and skin Every tooth and fang, Every hunter’s grin Everything you see, Everything you need Everything you touch, Everything you feel

Song and Rap number ends. Sage and S&M cross downstage and change out of costumes for Eugene, Cleo and Su Ping, respectively.

Eugene

And so, that is the end of their story and of our performance.

Su Ping

That cannot be the end of the story! (almost pleading) We still do not know the answer to “who stole the sun”.

Cleo

Well, you do realize that the title of this story is in the form of a question?

Eugene

Therefore, it is only fitting that the play raises questions rather than provide answers.

Su Ping

But, the audience might still wish to know who stole the sun!

Eugene

(to audience) NO ONE!

Su Ping

Excuse me?

Cleo

(to audience) After every certain period of time, the positions of the sun, the moon and the earth will be aligned in such a way that the moon is between the earth and the sun. The moon will either partially or completely block out the light from the sun to the earth. This is called a solar eclipse. This is what really happened in Metropolasia.

Su Ping

So, no one stole the sun! It was merely …

All

… A SOLAR ECLIPSE!

Su Ping

Now, we have come to the end of our story.

Cleo

We hope to see you again at another time.

Eugene

Thank you all and …

All

Good-bye!

Actors take their Curtain Call and exit stage left.

CURTAINS


INTER-GALACTIC

Characters

Poe Hone, The Tree of Life, a huge (about 3 metres tall) puppet tree

Erm Boon, an eleven-year-old child

Bah Yuu, an eleven-year-old child

Ben Joll, a larger-than-Poe-Hone puppet alien life form

INTER-GALACTIC

Poe Hone, The Tree Of Life stands upstage centre. Music introduces a Rap number “Save the Planet” featuring Bah Yuu and Erm Boon. Curtains open.

RAP - SAVE THE PLANET

Come on, ev’rybody, living on this planet That means all of you, now, if you know you’re on it Time to save ourselves, it’s time to save the day Time to save the planet, raise your fingers, let me hear you say Yeah (yeah), Say yeah-yeah (yeah-yeah) Yeah-yeah-yeah (yeah-yeah-yeah), Now scream, argh!

Take a look around, See what’s going on All the things we own, May be dead and gone Nothing left for us, none, To see, to touch, to feel Nothing can stop us from Believing it’s for real

Do you understand, Can you visualise Will you take the stand, Make a sacrifice Picture each one of us, Left standing all alone Pictures of survivors, No place we can call home

Look to the left, right and left again Now, cross that road, and be women and men All of the boys, and the girls, the same There is no choice, we’ve got to play the game

Come on, ev’rybody, living on this planet That means all of you, now, if you know you’re on it Time to save ourselves, it’s time to save the day Time to save the planet, raise your fingers, let me hear you say Yeah (yeah), Say yeah-yeah (yeah-yeah) Yeah-yeah-yeah (yeah-yeah-yeah), Now scream, argh!

Rap number ends. Bah Yuu and Erm Boon cross downstage centre and stand facing audience.

Erm Boon

Hi, everybody! (elicit audience response) My name is Erm Boon.

Bah Yuu

And my name is Bah Yuu. (gives ‘peace’ sign) Peace! It’s cool to see so many faces. So many of you came here just to see us.

Erm Boon

Thank you all for coming. It’s great to see all of you here. We are deeply honoured.

Bah Yuu

(as if at an awards presentation) There are many people we must thank. We would like to thank our late parents and our dead family members. They were the ones who saw to it that we remained on Planet Earth while they “boldly go where no man has gone before” … or come back from. Thanks to all our teachers and principals, the education ministry and the arts council that made this event possible. Without all of you, (starts to weep) where would we be? And to all of you seated on your bums, we are here because you are there. (points to an audience member) I love you. (points to another) I love you.

Erm Boon

(interrupts) Bah Yuu, what are you doing? This is not the MTV Awards.

Bah Yuu

I can’t help it, Erm Boon. This is too much for me. I’m sorry. (recomposes)

Erm Boon

Anyway, back to today’s business. Fellow Children of Planet Earth, Friends, Earthlings,

Bah Yuu

Homo-sapiens and Homo- __________ (name of school) -ians!

Erm Boon

We have gathered here today, under the shade of The Tree Of Life, for one reason. Based on the information given to us by our fellow galaxians from the other eight planets in The Milky Way, our calculations show that today is the day that Planet Earth will be attacked by the evil galactic leader, Ben Joll (Ben Joll theme intro is played).

Bah Yuu

(aside) That’s the bad guy in our story, the evil galactic leader, Ben Joll (Ben Joll theme intro is played).

Erm Boon

According to our data, the evil galactic leader, Ben Joll (Ben Joll theme intro is played) will enter Planet Earth’s atmosphere through one of the holes in the ozone layer.

Bah Yuu

So, why don’t we just close up all the holes? Erm Boon

We can’t close up the holes in the ozone layer. Once they are there, it’s permanent.

Bah Yuu

How did the holes get there in the first place?

Erm Boon

CFC, Chloro-Fluoro-Carbons, released into the atmosphere.

Bah Yuu

Who released the CFC?

Erm Boon

When some things, for example, Styrofoam or aerosol sprays, are crushed or broken, CFC is released into the atmosphere. These tear away at the ozone layer, creating thin areas known as “holes”. As a result, ultra-violet rays from the sun can penetrate the atmosphere more easily through these holes. We’ve been told that the evil galactic leader, Ben Joll (Ben Joll theme intro is played) will enter the atmosphere the same way as the sun’s UV rays.

Bah Yuu

We really should reduce the use of things that contain CFC, shouldn’t we?. Otherwise, there would be so many holes in our ozone layer.

Erm Boon

(rhetorically) All the galaxians from all the other eight planets in the entire Milky Way should just reduce the amount of rubbish that they dispose of on Planet Earth.

Bah Yuu

(struck by bright idea) Why, then, don’t we just wait under these holes for the evil galactic leader, Ben Joll (Ben Joll theme intro is played)?

Erm Boon

We can’t, Bah Yuu. It’s too dangerous. UV rays from the sun can burn our skin. And they can also cause skin cancer.

Bah Yuu

So, that’s why we need to shield ourselves.

Erm Boon

In a way, yes. By the way, where did you put the shields?

Bah Yuu

Let me get them right now. (exits to get shields)

Erm Boon

(aside) You have to forgive our friend, Bah Yuu. For an eleven year-old, she’s not very smart. I, on the other hand, am smart for eleven or any age. (laughs proudly) Actually, I think Bah Yuu is not smart at all. It’s so sad. I feel bad for her. But, she is good with her hands. Very creative, too.

Bah Yuu

(re-enters with two shields and two containers of green plastic bottles) Jeng-jeng-jeng!

Erm Boon

The shields!

Bah Yuu

(as if a salesperson on TV) Yes, our shields are made from only the purest aluminium drinking cans disposed of on Planet Earth. Originating from all over The Milky Way, these drinking cans are then recycled and handcrafted with the most intricate motifs into practical, portable, all-weather, all-purpose shields. (mock applause) And if you recycle today, for every shield you produce, you will also receive not one, not two, but three hundred reusable plastic bottles. These bottles have all been cleaned and disinfected to be reused as containers for other fluids like water. (mock applause)

Erm Boon applauds Bah Yuu for her creations; jealous over the fact that it was not her idea.

Erm Boon

Wow, Bah Yuu, you have outdone yourself. I know that I told you about recycling the aluminium drinking cans into the shields. But, how did you know about reusing those bottles and using water to defend ourselves against the evil galactic leader, Ben Joll (Ben Joll theme intro is played)?

Bah Yuu

Poe Hone, The Tree Of Life told me all about it. It said that anything that is evil will not be able to fight against anything that is pure. So we can splash water on evil things to purify them and then they will not be evil anymore.

Erm Boon

Poe Hone, The Tree Of Life talked to you about purifying evil?

Bah Yuu

Poe Hone talked about lots of things.

Erm Boon

The Tree Of Life can talk?

Bah Yuu

Yes!

Erm Boon

How? (realises that it is a difficult question) Okay, when?

Bah Yuu

Poe Hone talks all the time. It’s just that you cannot hear it.

Erm Boon

(arrogantly) And why can’t I hear it?

Bah Yuu

Because you listen with your brain. You need to listen with your heart!

Erm Boon

I thought we could only listen with our ears.

Bah Yuu

See? That’s what I mean. You say that because you are thinking. You think with your brain. But with your heart, you can’t think. You can only feel. You need to feel Poe Hone talking to you. Only then can you hear it.

Erm Boon

Is Poe Hone talking now?

Bah Yuu

(encourages audience) Everyone be quiet. (mimes hearing) Did you hear that?

Erm Boon

I didn’t hear anything.

Bah Yuu

Neither did I. Poe Hone did not talk just then.

Erm Boon

(slightly annoyed) You tricked me!

Bah Yuu

I only did that to see if you were paying attention. (Zen master-like) Okay, now, everyone close your eyes, open your heart, take a deep breath, release it … and listen.

Music introduces a Sentimental number “The Ballad of the Tree of Life” featuring Poe Hone, The Tree Of Life, backed by Bah Yuu and Erm Boon.

SONG - THE BALLAD OF THE TREE OF LIFE

I remember a time when the air was sweet In the cycle of life, beginnings, ends meet Every single stop only meant a brand new start ‘To return anew’ was what it meant with ‘to depart’

It seems that was so long ago So magical, could be a dream A time so lost, no one would know Time so far gone, no one has seen

Save me, save me This is the only life I know Save me, save me I really have no where to go

I remember a time when the snow was white The amber setting sun brought the starry night Every blue wave crashed onto cleansing sands The grassy green hills spread out all throughout the lands

It seems that was so long ago So magical, could be a dream A time so lost, no one would know Time so far gone, no one has seen

Save me, save me This is the only life I know Save me, save me I really have no where to go

Sentimental number ends. Bah Yuu and Erm Boon cross upstage centre to Poe Hone, The Tree Of Life.

Erm Boon

Poe Hone, why is Planet Earth being attacked by the evil galactic leader, Ben Joll (Ben Joll theme intro is played)?

Poe Hone

To take over control of our galaxy, The Milky Way.

Erm Boon

How would attacking Planet Earth help him to take over control of The Milky Way?

Poe Hone

It will destroy The Milky Way’s rubbish disposal facility.

Erm Boon

How would he destroy The Milky Way’s rubbish disposal facility?

Poe Hone

By breaking Planet Earth’s food chain.

Erm Boon

What must he do to break Planet Earth’s food chain?

Poe Hone

Destroy me. (suspense Music is played)

Erm Boon

(plays irony) Oh, that makes absolutely no sense to me. I don’t see any connection.

Bah Yuu

Don’t look with your eyes, then. Look with your heart.

Erm Boon

What is that supposed to mean?

Bah Yuu

Look at the bigger picture.

Erm Boon

What bigger picture?

Bah Yuu

This!

Bah Yuu turns around shields and reveals a chart illustrating the words of Poe Hone, The Tree Of Life.

Poe Hone

I am the last tree left on Planet Earth. I live on the nutrients in the soil. If I were destroyed, nothing will be able to remove the nutrients from the soil. If the nutrients from the soil cannot be removed, the rubbish that is disposed of on Planet Earth cannot be broken down efficiently. If the rubbish cannot be broken down efficiently, The Milky Way will not be able to use Planet Earth for rubbish disposal to dispose of its rubbish. If The Milky Way cannot dispose of its rubbish, then there will be serious problems.

Erm Boon

I still don’t understand.

Bah Yuu

Let me put it to you this way. Close your eyes, imagine you are having your favourite meal.

Erm Boon

(plays along) Mmm, yummy!

Bah Yuu

It is so yummy, you eat as much as you can until…

Erm Boon

My tummy is full.

Bah Yuu

Then you get a tummy ache and must go to the…

Erm Boon

Toilet. I really need to use the toilet.

Bah Yuu

If the toilet is broken?

Erm Boon

(opens eyes and places one hand on stomach) Broken? No toilet?! Then, there will be serious problems. Now, I understand.

Bah Yuu

Come on, then, Erm Boon, let’s not waste any more time. Let’s teach all our friends how we are going to fight the evil galactic leader, Ben Joll (Ben Joll theme intro is played).

Erm Boon

(addressing audience) Alright. (pauses to ponder) Everyone, take out your shields.

Bah Yuu and Erm Boon look at audience expectantly only to be totally disappointed.

Bah Yuu

Erm Boon, since you and I have shields, why don’t we lead the defence. All our friends can stay behind us, behind our shields.

Erm Boon

Never mind. (pauses to ponder) Everyone, take out your water bottles.

Bah Yuu and Erm Boon look at audience expectantly and are quite pleased with the response.

Erm Boon

When we are attacked, what we are going to do is throw our water bottles to the front so that they will break and the water splashed out can start purifying everything that is evil.

Bah Yuu

Erm Boon, if we are in front of them, won’t the water bottles hit us when they throw them to the front?

Erm Boon

Never mind. (pauses to ponder) Yes! I give up. We are doomed. We are all going to die.

Erm Boon loses control of her emotions.

Bah Yuu

Erm Boon! Stop that! You are making an embarrassment of yourself.

Erm Boon

(recomposes) I apologise. I didn’t mean to be such a baby.

Bah Yuu

That’s alright. You are a baby. We’re both babies. We’re only eleven years old. No one can blame us if we behave like children.

Erm Boon

Yes, you’re right. I shouldn’t blame myself. But what are we going to do to defend Planet Earth against the evil galactic leader, Ben Joll (Ben Joll theme intro is played)?

Bah Yuu

We still have our “secret weapon”.

Erm Boon

(declamatorily) SECRET WEAPON?!

Bah Yuu

(silences Erm Boon) Shh!

Erm Boon

(stage whisper) Secret weapon ?!

Bah Yuu

(like Sesame Street back-alley pimp) Right!

Erm Boon

Secret weapon. Yes, you tell them, Bah Yuu.

Bah Yuu

It’s secret.

Erm Boon

It’s so secret.

Bah Yuu

It’s so secret, (pause) I don’t know what it is.

Erm Boon

Bah Yuu! What do you mean you don’t know what it is?

Bah Yuu

Just that! I don’t know what it is.

Erm Boon

But I told you.

Bah Yuu

You told me we had a secret weapon. You did not tell me what that weapon was. You said it was a secret!

Erm Boon

(lamenting sigh) Alright. We cannot waste anymore time. The secret weapon is (suspense Music is played) laughter.

Bah Yuu

That’s it? That’s the big secret? That’s easy. We’ll just laugh him to death!

Erm Boon

It’s not that simple. We are using it as a weapon. We have to plan and coordinate.

Bah Yuu

Why does everything have to be so planned and coordinated with you? Where’s the fun in that? (addresses audience) Ladies and gentlemen of the audience, we need all of you to give Erm Boon your cooperation to defend Planet Earth. Are you ready? (elicit audience response)

Bah Yuu prompts Erm Boon to lead the other children.

Erm Boon

When I do this (points at audience with forefinger), you laugh. But when I do this (horizontal slash), you stop. Got that? Let’s give it a try. Everyone ready?

Erm Boon points at audience to cue ‘laughter’ and slashes at them to cue ‘silence’. Erm Boon does so a few times, each time getting the audience to laugh a little louder and be silent a little quicker, trying to turn it into a game.

Erm Boon

Thank you, thank you, thank you. Now, I believe we are ready.

Bah Yuu

No. Not yet. Erm Boon, don’t you think we need to conduct some ‘weapons testing’? We have to try out our secret weapon to make sure it is in working order.

Bah Yuu goes downstage centre, leaving Erm Boon wondering what she meant.

MIME AUDIENCE-PARTICIPATION SEQUENCE

Bah Yuu gestures for the attention of the entire audience. She ‘cuts’ them down the middle, dividing them into two, naming stage left audience Group 1 and stage right audience Group 2. Bah Yuu goes to stage left to Group 1, points at them, gestures for more laughter, then slashes at them. She gestures “That was fairly loud” or “That was very loud”, depending on response. Bah Yuu goes to Group 2, gestures “Did you hear that?”, gestures for them to maintain control, points at them, gestures for more laughter, then slashes at them. She gestures “That was great” or “That was worse than Group 1”, depending on response. Bah Yuu gestures to the louder Group “These are my friends” and “They are the best” etc., and to the softer Group “What’s wrong with you?” and “Are you tired?” etc., then calms audience down for a little contest to confirm. Bah Yuu stands downstage centre. She points and slashes at one Group, then the other. She does so twice and compares the two Groups mentally, but cannot decide which is louder. Bah Yuu goes to stage left, points and slashes at Group 2. She goes to stage right, points and slashes at Group 1. She compares the two responses mentally, but still cannot decide. Bah Yuu goes downstage centre, turns to face upstage, takes three steps forward, turns and points at Group 1, then slashes at them. She goes downstage centre, turns to face upstage, takes three steps forward, turns and points at Group 2, then slashes at them. Bah Yuu goes downstage centre, turns to face upstage, pauses, points and slashes at one Group, then the other and repeats it ad lib a few times. Bah Yuu runs to the louder Group to confirm that they are the louder Group. Everyone celebrates.

Music introduces a Symphonic Orchestra number “Here I Come - the Ben Joll theme” featuring Ben Joll, backed by Bah Yuu and Erm Boon. Ben Joll appears upstage and begins to engulf Poe Hone, The Tree Of Life.

SONG - HERE I COME - THE BEN JOLL THEME

I am naught, of myth, of magic Know you not your end is tragic Here I come to bring the future here You are, but, of man, of nature I know not a meeker creature Here I come to bring the future now

Bow down your head (We may be dead) Get on your knees (Begging and pleas) Writhe on your back (See the attack) Squirm as you scream (Is this a dream)

(Here I come) Where I come from no one has ever been (Here I come) I bring a future you have never seen (Here I come) You will be ready, willing and able (Here I come) Or pain and death will be inevitable

I’ve no use for food and water I just want to bring to slaughter All you children of The Milky Way I’ve no time for wine and singing I just want to hear you screaming For you children here I come this day

Bow down your head (We are not dead) Get on your knees (No begging, pleas) Writhe on your back (Face the attack) Squirm as you scream (This is no dream)

Here I come (Here we go) Here I come (Here we go) Here I come (Here we go) Here I come (Here we go)

Symphonic Orchestra number ends as Battle Sequence begins.

SLOW-MOTION BATTLE SEQUENCE

SFX of battle zone is played. Bah Yuu and Erm Boon get hold of a shield and a container of green plastic bottles each. Bah Yuu takes up position on stage left and Erm Boon on stage right. Bah Yuu and Erm Boon start throwing the bottles at Ben Joll but to no avail. Erm Boon signals Bah Yuu to join him. Bah Yuu agree and takes up position on stage right next to Erm Boon. Bah Yuu and Erm Boon resume the battle. Ben Joll shows no signs of relenting. Erm Boon signals Bah Yuu to take up position on stage left. Bah Yuu agrees and together they take up position on stage left. Bah Yuu and Erm Boon re-resume the battle and continue until they run out of green plastic bottles. Ben Joll seems too evil for the water to have any purifying effect. Bah Yuu signals Erm Boon to take up position centre stage. Erm Boon disagrees, afraid of the danger the move would pose. Bah Yuu takes both shields and both empty containers to centre stage, exposing Erm Boon. Erm Boon runs to take cover behind the shields. Bah Yuu turns to face the audience, prepares them and, on the count of three, points at them. Audience laughs. Ben Joll starts to cry. Bah Yuu urges the audience to laugh louder and louder. SFX of battle zone ends. Bah Yuu and Erm Boon break out of slow-motion and resume at normal speed. Erm Boon goes downstage, slashes at the audience and prompts them to be quiet. Ben Joll is still crying.

Erm Boon

Bah Yuu, are you pondering what I am pondering?

Bah Yuu

(tentatively) I think so. But I don’t think Mister (name of favourite male teacher in school), the (subject he teaches) teacher would look good in a bikini.

Erm Boon

(ignoring Bah Yuu) I hear someone crying. (has a look-around)

Bah Yuu

(curiously) Ben Joll, are you crying?

Ben Joll

(sobbing) Yes.

Erm Boon

But, why?

Ben Joll

(between sobs) Because all of you are laughing at me.

Bah Yuu

We are not laughing at you!

Erm Boon

Yes, we are not laughing at you. We are laughing … (ponders) at you.

Bah Yuu

(earnestly) We hurt your feelings. We’re sorry.

Erm Boon

We did not mean to hurt you. We just wanted to kill you. (sudden realisation) What I mean is, we were only trying to defend Planet Earth.

Bah Yuu

We are really very sorry.

Ben Joll

Back home, in my galaxy, all my friends used to laugh at me. They think I won’t ever amount to anything. That’s why I went out to take over control of other galaxies. To show them that I have brains. That I can do things. That I am not a good-for-nothing.

Bah Yuu

If your friends back home think that you are a brainless and useless good-for-nothing, then they are not your friends.

Erm Boon

Friends would never judge one another. They would accept you as you are.

Ben Joll

But if I don’t make friends back home, where can I make friends?

Bah Yuu

Other galaxies! You can be friends with all the creatures from all the galaxies other than your own. (suggestive) You can be friends with us.

Ben Joll

Really? You would be friends with me?

Bah Yuu

Of course.

Ben Joll

And you would never laugh at me?

Bah Yuu

We would laugh near you, but never at you.

Erm Boon

(under her breath) Even if you do look silly and old-fashioned.

Ben Joll

(howling with joy) And I will never have to worry about my friends back home because I have found friends in you.

Bah Yuu, Erm Boon and Ben Joll cheer with happy-happy, joy-joy until Erm Boon interrupts.

Erm Boon

Excuse me, but what are we going to do about Poe Hone, The Tree Of Life?

Ben Joll

Burn it!

Bah Yuu & Erm Boon

WHAT?!

Ben Joll

Gotcha!

Music introduces a Pop number “Bridge The Gap“ featuring Bah Yuu, Erm Boon and Ben Joll. As they perform the number, Bah Yuu and Erm Boon take ‘leaf cuttings’ (small potted plants) from Poe Hone, The Tree Of Life, go offstage into the audience and hand them out to select child and adult members of the audience. Bah Yuu and Erm Boon return onstage before the number is over.

SONG - BRIDGE THE GAP (I LIKE IT)

I like it, I like it, I really like to do it I like it, I like it, I like to get it done I like it, I like it, I really like to do it I like it, I like it, I like to get it done

The rain just comes down from the sky The soil, it never questions why The Tree Of Life then drinks it dry Returning it back to the sky

I like it, I like it, I really like to do it I like it, I like it, I like to get it done

The Earth, it rocks from side to side The moon brings up and down the tide The sun, the centre of this wide Old galaxy, burns with our pride

I like it, I like it, I really like to do it I like it, I like it, I like to get it done

The journey of a thousand miles begins with that first step A galaxy of cheery smiles will only bridge the gap The journey of a thousand miles begins with that first step A galaxy of cheery smiles will only bridge the gap

I like it, I like it, I really like to do it I like it, I like it, I like to get it done I like it, I like it, I really like to do it I like it, I like it, I like to get it done

Actors take their Curtain call and exit stage left.

CURTAINS