Performers return to stage, recount experience of performing to bare auditorium

• NAC said performances conducted so far have been staged smoothly
• Performers recount feeling a lack of presence when performing to a relatively bare auditorium of 50 people
• Tickets for the trial performances were snapped up quickly

SINGAPORE — Compared to online shows, watching a live show feels like “eating fresh food that the chef has just prepared”.

This was the analogy given by one of the performers who got to take the stage on Sept 11 — six months since performance venues were forced to shut their doors in a bid to stem the Covid-19 outbreak.

“You can always ‘dabao’ (take away) from Spotify, Facebook and YouTube but the taste will not be the same,” said Mr Tan Loke Chuah, a percussionist with the Singapore Chinese Orchestra (SCO).

The 48-year-old was one of the 23 SCO musicians who got to perform under the National Arts Council’s (NAC) pilot trial to resume small-scale live performances from Sept 11.

NAC earlier said it was working with about 13 arts groups and freelancers on about 10 programmes covering different art forms, to conduct live shows that abide by safe management measures.

These measures include capping audiences at 50 and limiting interactions between the audience, performers and backstage crews.

In response to TODAY’s queries, NAC said performances conducted so far have been staged smoothly, adding that it was gathering valuable learning points for a review.

It will also work with the relevant authorities towards a sector-wide resumption of live performances following this review.

Asked if NAC plans to expand the pilot, a spokesman said its focus remains to ensure the safety of artists, crews and patrons.

“Tickets have also been selling out quickly, which points to demand from our audiences, even though this is a trial and all performances have been scaled back,” said the spokesperson.

LACKING PRESENCE FROM STAGE

Mr Tan said he felt like there was “an emptiness” when performing to a relatively bare auditorium of 50 people.

“It was lacking a sense of presence… I couldn’t feel that our music touched the audience,” he said.

While playing large orchestra work in a small ensemble is already a challenge to the percussionist who has to multi-task to cover many parts of the performance, Mr Tan said the pandemic also limited practice time.

While it did not affect the performance, the challenge made it more intense.

Mr Terence Ho, 50, the executive director of SCO, said with safe distancing measures taking away the intimacy of an ensemble — now that musicians are spaced at least one metre apart and fewer musicians are permitted onstage — performers are also presented with new challenges.

“With greater distance between musicians, they have to pay more attention to how they play and listen to one another more than they did before,” said Mr Ho.

He added that in terms of acoustics, the quality of performance is not affected by the size of the ensemble.

Mr Janek Schergen, the artistic director of the Singapore Dance Theatre (SDT), said for its show on Sept 23, the group had initially planned a performance with 35 dancers, but scaled it down to six to ensure safe distancing.

“We only had a few days to change the line-up but quality of performance was definitely not affected,” said Mr Schergen, adding that the dancers have been attending daily classes to gradually rebuild their strength.

One performer, Ms Akira Nakahama, 29, said it took several days for her to adjust to dancing with a partner after three months of training individually for the ballet duet at the Esplanade Theatre.

“My artistry hasn’t really changed but training and performing are two completely different things, so I had to work on presenting myself and connecting with the audience again,” she added.

The performers said these challenges do not take away their excitement at being able to return to the stage.

Mr Etienne Ferrere, 30, who performed with Ms Akira at the SDT show, said he did not fully realise how 50 people in the audience would look from a performer’s point of view, until now.

“In the times before Covid-19, I think stepping on stage and noticing such a small audience would be quite depressing for us… But this year, everything seems to be different.

“Even with the lucky 50 who managed to secure a seat scattered across the stalls, observing self-distancing and wearing masks at all times, knowing we were at ‘full house’ was very motivating,” he said.

HIGH DEMAND FROM PUBLIC

Just like the performers, members of the public were evidently excited to return to theatres and watch live performances.

Tickets for SCO’s show on Sept 11 were snapped up within two hours, while SDT’s matinee and evening shows on Sept 23 were fully booked in 15 minutes.

Ms Rachelle Tan, director of venues and planning at the Esplanade, said all 50 seats for its trial performance at the outdoor theatre on Sept 12, where entry was on a first-come-first-served basis, were taken up by members of the public.

“With the safe access and precautionary measures taken for backstage with our staff, artists and crew, and with the co-operation from our visitors and patrons to exercise social responsibility to adhere to these measures, we believe that live performances should be able to resume in no time,” said Ms Tan.

Avid theatre-goers TODAY spoke to said they have been waiting for the industry to resume.

Accounts executive Sylvia May, 29, said both she and her husband were hoping to score tickets to SDT’s show, but were out of luck.

“For months, we’ve been stuck watching shows online… and we are sick and tired of them.

“There’s something about live shows that can never be replicated — it can evoke so many emotions,” she added.

Audio-visual technician Pravin Singh, 31, said each year, he crafts a list of live shows he would attend, but this year was different.

“I used to look forward to attending concerts every few months... I love the thrill of being part of the crowd and enjoying the music together. It was my go-to stress reliever.”