To Thee Do We Cry, Poor Banished Children
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Human experience is indescribable. In the first play, Nurhalizah, a middle-aged woman who has lost all her children, overcomes grief through music. In the second play, Cedric, a Mosaic Down Syndrome sufferer expresses the excruciating anguish of his humiliation through dance. In the final play, a man with a devoted wife displaces his pathological obsession for another woman through writing and painting. However, even art forms fail to describe such experiences. After all, human experience is indescribable and perhaps, inexpressible. Geraldine Song's three plays form a mosaic as they assemble poignant scenes between deferent 'special' people confronting an uncaring society. In a shuttling between genres and stage techniques, a juxtaposition of musical and performative elements dramatically visualises the lead characters' attempts to reassemble their memories, relationships, and foiled hopes, and to communicate these attempts through their art. The image of the mosaic - the title of the middle, or centre, piece - most strikingly conveys both the aesthetic and thematic significance of this piecing together of fragmented elements. To try and express what often ultimately remains inexpressible and also fragmented, if always both open and vulnerable to an additionalreassembling, is shown to shape.
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