Writer: Joel Tan
Director: emma + pj
As the audience enters the traverse staging, attention is immediately drawn to the striking muslin and rope-bound figure bathed in Klein Blue light. Suspended above it, a transportation hook evokes both the theatrical suspense and tension of what will become of this object. The stage is layered with grey sand, while a projector casts an ‘exhibition information card’, including the listing of the materials of the piece: ‘wood, steel, acrylic, sand, linen, bodies.’
The story begins with ‘Part One: The United Kingdom of Great Britain and Northern Ireland’. The opening scenes, set within this context, gradually introduce the Guanyin (a Buddhist divinity), its history and its significance. Writer Joel Tan allows meaning to emerge organically through each scene, which acts as a self-contained story that accrues into a broader narrative. Working in close collaboration with director emma + pj, Tan navigates a delicate balance between humour and poignancy, often disarming the audience with wit before revealing the weight of a moment in an instant.
The tonal shift becomes more pronounced in the second half, marked by the projection: ‘Part Two: The People’s Republic of China’. Here, the emotional and political weight deepens. Surtitles for the Mandarin spoken briefly establish the language context before reverting to English, cleverly allowing the audience to understand the scenes culturally and linguistically.
The ensemble cast delivers nuanced multi-rolling, with each performer bringing clarity and specificity to a variety of roles. Aidan Cheng is particularly affecting in a tender monologue reflecting on identity and the recent death of his grandmother. His vulnerability is quietly arresting.
TK Hay’s design is integral to the show’s emotional and conceptual scope, evoking both museum aesthetics and constantly drawing focus to the ever-spoken about Guanyin. Alex Fernandes’ lighting design deserves special mention for its sensitive rendering of the Guanyin figure, shifting between reverence and unease with painterly precision.
emma + pj’s direction is holistic and assured, drawing from a cohesive creative team to craft a multimedia work of ambition, clarity and well-measured pacing. Their attention to the dramaturgical power of language is especially notable, using surtitles and tonal shifts to deepen audience understanding. If there is one drawback, it lies in the production’s conclusion. The final, abstract-esque image, though visually strong, lacks the emotional or narrative resolution the preceding material seems to demand, leaving a slightly muted final impression.
Nevertheless, Scenes of a Repatriation is a bold, imaginative piece of theatre. Using the conceit of an exiled figure, it opens up a complex dialogue on history, identity, and cultural ownership with intelligence and heart.
Runs until 24 May 2025
The Reviews Hub Score
A museum figure in exile
