Siddhartha

Play by Sonny Lim based on the book by Herman Hesse

World-In-Theatre

Play Den, The Arts House

December 1, 3.00pm

Directed by Elizabeth de Roza and Sonny Lim

Original music composed and performed by Danny van Noort and Angeline Kim-Kyna Tan.

Reviewer Stephanie Burridge

An iconic reading for the hippies of the 70s and moving on to the post-COVID era, Hermann Hesse’s novel Siddhartha offers a rich manifesto on the journey to enlightenment – the search for meaning, identity and purpose. The journey encompasses deep philosophical struggles between individual materialistic values and the selflessness of Eastern religions and practices. Sonny Lim’s adaptation of the tale follows the protagonist’s journey from the son of a Brahmin, to enduring tortuous bodily experiences as a wandering Samana, delving into Buddhism and time spent with his lover Kamala before succumbing to greed and corruption. The show eventually cycles back to a quest for love and acceptance through forgiveness and humility.

The World-In-Theatre’s absorbing production is complex, multi-layered and eloquently at odds with the simplicity of the staging. Metaphors for the journey through life are created by the re-purposing of a raised platform that serves as a home, a temple, a forest and a poignant river boat that finally leads Siddhartha to his journey home – a place within himself. Two chairs placed opposite each other further down stage enable a central triangular space. Sometimes the seats are occupied by an observer, often by singer/composer Angela Kim-Kyna Tan whose voice resonates moments of the narrative.  The haunting soundtrack by Tan and Danny van Noort not only set the mood for each scene but propels the action forward.

The direction by Sonny Lim and Elizabeth de Roza is lucid and clever. They allow ample space between each scene such that the dialogue, and resulting actions enable reflection for the actors and the audience. As the Asian philosophies are explored, the sense that time shifts within the theatre space is a profound contrast to the disruption and chaos of the outside world.  This quality is brought to life not only by the thoughtful performance of Akshay Sharma as Siddhartha but the cast of veteran performers. Sharma transitioned through the distress of displeasing his father by striking out on his own, enduring physical and spiritual trials, giving in to passion and submission to deep depression as he loses his way. Priya Arun as Kamala danced exquisitely tempting Siddhartha to stray from his spiritual path – she is joined by her faithful maid, Siti Sara Hamid. Phillip Marcelo’s key role as the ferryman and as an irrepressible guide was full of wisdom while Andrew Mowatt played the instructional roles, including an Elder Samana, with an absoluteness that contrasted with the questioning of Siddhartha’s faithful friend Govinda, Lim Junjie, and the gentle bewilderment and hurt of his father played by Sonny Lim.

What emerges from Siddhartha’s final journey with the ferryman is a sense of flow.  The river flows, love flows in a cycle as now Siddartha, father to Kamala’s son, must face rejection echoing his own experience with his father many years ago. The humanity of opposites resounds building resilience and acceptance that the journey to enlightenment always ends within oneself.