interview by Lim Wei Sheng & Charissa Tang

What were the roots of your collaboration?

Effendy: Well, basically we just wanted to get together. A few years ago, at the M1 Fringe Festival, The Necessary Stage was putting up sideshows. We decided to put up the performance Pain of a Million Ants at various locations.

So how did you two come up with the idea of Circus?

Effendy: Initially when we were thinking of a title, we just sat together and thought up a random title together. We decided on Circus at that point in time, so our title was Circus — For Now, because we think that life is like a circus. We tried to make up the storyline on the poster (for the show) with everyone sitting in a circle and each contributing one word, then repeating the process again and again. However, this method did not work out.

Rizman: In the end we just tried to come up with different ideas and put them together, and that’s how we came up with the performance.

Effendy: The interesting thing about this performance is that there is no director and no directing involved, so we are not restricted or limited by strict guidelines and structures. As such, we really get to enjoy what we were doing.

Could you tell us more about the difficulties you faced in the production process?

Effendy: We started off with a time constraint of an hour (for the entire show) consisting of four to eight segments of about ten minutes each. Each of us was in charge of one particular aspect of the performance. For example, Freddy was in charge of “mood”, Effendy in charge of “sensation”, Sabrina in charge of the interludes and Rizman in charge of the “spectacle”.

Rizman: Other constraints we faced included the amount of time we had to collaborate. We had a really short amount of time when we could practise together.

Effendy: As for stress, we are supposed to be feeling stressed now because we are so short of time, but we are not.

Rizman: Stress comes on that day itself no matter how much we practise. The audience may have reactions that cannot be expected.

Effendy: There is an element of vulnerability that is sort of exciting, because it gives you a loss of control. We are working towards imperfection, rather than perfection, and that is a challenge.

How do you think the audience will react to Circus?

Effendy: We cater to different audiences. We hope that they enjoy what we are doing. I mean, some people may give up because they may not understand what is going on.

Rizman: Everyone’s experience is totally different, so we cannot explain what is happening in the space. So we hope that our audience will be brave enough to expect the unexpected.

Do you think the audience will be able to understand what you are trying to convey through Circus?

Effendy: Don’t underestimate the audience. Don’t think that they are stupid. Sometimes artists try to commercialise their art so that it caters to a wider audience, but it only ends up with the watering down of art. There needs to be a meeting point between art critics and others who appreciate art in their own ways. Most people who can really appreciate art are those who do not have an art background. Art critics can be cynical.

Rizman: As a matter of fact, children are fun to work with because they come with an open mind, and they are easily engaged.

What advice do you have for youths who would like to pursue a career in the arts?

Effendy: Don’t (Laughs). You may give up halfway.

Rizman: Actually, there is nothing wrong with giving up halfway.

Effendy: What I mean is that you need to be sure what you are getting into. The thing is to make the best out of it, and enjoy doing it. You need to have the mindset that you are not gong to make a lot of money. It is quite a struggle. My advice would be to get a proper job and study well.

Rizman: Being an artist should not be a job, it should just be an additional part of you that you enjoy.

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Lim Wei Sheng is a JC1 student from Raffles Junior College. He likes everything to do with music, from piano to singing to composing. Most of all, he likes new, neurotic and interestingly provoking ideas. Thus experimental theatre, despite being rather frightening to him, turns out ultimately to be, in a warped way, rather relishing.

Charissa Tang has somehow always ended up dealing with publications for the past four years of her life. She loves learning about new cultures, and enjoys trying new things. She developed her interest in theatre only after entering college, but has never actually been involved in the production of one.