Interview: Chong Tze Chien

How did the concept of the play – to feature Samsui women and the Bukit Ho Swee fire – come about?

Bukit Ho Swee and the samsui women are both such famous parts of our history, so I decided to link them together. When the fire broke in 1961, there was a mad rush to build new homes. We also saw the last of the samsui women in the ’60s. They were old and modern technology had taken over, so their role was not deemed as important in the construction industry.

Why samsui women and not another group of immigrant workers like the coolie workers?

[I’m inspired by] the resilience of these women who chartered the path in such unusual ways. They’re the last of their generation and you will not see them again, so we just wanted to commemorate and celebrate them. We also want to tell their story to the younger ones, who may not have any knowledge of them.

What were some of the most challenging aspects of staging the play?

There are few recorded documents so research took some time. No one knew why they wore red and blue, for instance, or how the hat came about. I had to rely on some academic essays floating around online. 

Tell us about Swee Leng.

Her relationship with her mother, a single parent, has instilled in her a strong spirit of independence. Due to certain circumstances, she decides to run away with Ah Teng.

What are some highlights or special features that the audience can look forward to?

It’s a fun and entertaining production with an innovative set – we used giant LEGO-like blocks to illustrate the way these samsui women built the city skyline. Also, the actors made the puppets in their own image, from scratch.

How does the use of puppets change the dynamics of the performance?

I think with puppets, children and the young at heart will be very drawn towards them as they’re endearing to look at. It’s almost magic on stage as you see these inanimate objects come to life.