All gloved up: award-winning absurdist play 'Le Tabouret' heads to Penang

The Star

5 hours ago

The play begins with an empty stage.
As it progresses, a man and a woman – both well, well on in years – fill the space with chairs for their guests.
Though invisible to the audience, the couple engage enigmatically with those who arrive until everyone turns to see the entrance of an orator.
In his tragic farce production entitled Les Chaises (French for The Chairs ), Romanian-French playwright Eugene Ionesco claimed that 'we all live in illusion' and recognising meaningless is the only meaningful thing that can be done.
Now, this 1952 play is being adapted by three local arts groups and is travelling to George Town, Penang this month.
The atmospheric theatre show will run at Auditorium A, Komtar, George Town from June 13–15.
Le Tabouret or The Stool dives into the melancholy world of two retired Chinese glove puppeteers as they confront a command seemingly from the divine, abandonment and the nearing end of their days.
No strings attached
Chinese glove puppetry, which is also known as 'potehi', originated in Fujian, China in the 17th century and is believed to have come to Penang over 100 years ago.
Using small but elaborate hand puppets that range from 25cm to 35cm in height, the uniqueness of this artform stems from the absence of strings controlling the characters from above.
'Le Tabouret', adapted from Eugene Ionesco's seminal absurdist work, tells the story of stage characters Chen Yulian and Zhang Ming, two retired glove puppeteers. Photo: Weng Hong
This traditional entertainment became popular during festivals as it was more cost effective than hiring an opera troupe and also required less time and preparation to set up.
Le Tabouret director and scriptwriter Dylan Yeo, from Kuala Lumpur-based D Yang Productions, says the idea of centring the adaptation around a stool rather than the original chairs came from here.
'The reason I chose a stool instead of a chair is because it resonates with traditional Chinese puppetry performances. These are often held during festivals or god-praying events, where typically only stools are placed in front of the stage,' says Yeo.
'To honour this tradition and pay homage to the roots of the original script, I decided to name the piece in French,' he adds.
The decision to change the title to a singular form also stems from refocusing the play around a dying traditional art.
'I used the singular form ( Le Tabouret ) to symbolise that – although there may be many stools – ultimately, only one remains to support both the performers and the art form itself,' he says.
At last year's Boh Cameronian Awards, Teoh (left) won Best Actor (Theatre) for her role in 'Le Tabouret', presented by Zahim Albakri. Photo: KakiSeni
Like other traditional art forms like Chinese silk embroidery and signboard making, there has been an apparent decline in potehi in recent times due to more accessible and modernised entertainment.
The appearance of these art forms nowadays, however, almost always strikes a nostalgic chord with those who grew up with them.
'As an art creator, this art form holds a special place in my heart. Every year during the Ghost Festival, my parents would bring me around different parts of the city to take part in the celebrations,' says Yeo.
'While they were busy praying, I would find myself drawn to the Chinese puppetry performances happening nearby.
'As I grew older and started doing research, I realised this once-vibrant tradition is slowly fading away; becoming less visible, almost as if it's disappearing into thin air,' he laments.
To ponder more deeply into the loss of an art form, Le Tabouret follows Chan Yuk Lian and Cheong Meng, two elderly, retired glove puppeteers who are struggling with late-life loneliness and the demise of their craft.
Since receiving support from the Krishen Jit Fund in December 2022, Yeo has watched the show grow and move onto a bigger stage. Photo: Dylan Yeo
Amidst this backdrop, Chan suddenly receives a divine revelation and, determined to share it, she summons a gathering at her home by channeling the oracle through a spirit medium.
Though this development hints at hope and reconnection, audiences would be wise to brace themselves for a rough road (and perhaps, end) for the two protaganists if the adaptation stays true to the original play.
'What begins as an act of salvation slowly unravels into a revelation of humanity's absurd core.
'When traditional arts are abandoned by time and faith is deconstructed by reality, can we still find an anchor for existence in the void?' the play's creators question.
Visiting potehi land
Le Tabouret held an experimental premiere in 2022 in Selangor and, after receiving support from the Krishen Jit Fund later that same year, was officially staged at the Five Arts Centre in Kuala Lumpur in October 2023.
Actor Teoh Siew Thung, who played the part of the elderly female puppeteer, was awarded Best Actor In A Leading Role (Theatre) at the 19th Boh Cameronian Arts Awards last year for her performance.
The production, jointly created by D Yang Productions, Noise Performance House and Wave-Breaking Puppet Theatre, also earned three nominations at the 19th ADA Drama Awards that celebrates achievements in Malaysian Chinese theatre.
'The reason I chose a stool instead of a chair is because it resonates with traditional Chinese puppetry performances,' says Yeo. Photo: Weng Hong
Taking the production on the road for the first time, the team immediately had one place in mind.
'When we first staged the show in KL, the main support I received from the Chinese puppetry community came from (experimental glove puppetry theatre troupe) Ombak Potehi, which is based in Penang.
So, when it came time to plan our first out-of-town production, Penang naturally became the first place that came to mind,' says Yeo.
The show will be held in Mandarin and Hokkien (yes, Penang Hokkien) with English subtitles and some changes have been made for the new location.
Lee Chin Kuan, who is known for his previous roles both on stage and behind the scenes, will take over the role of the elderly male puppeteer from Fred Chan in the original production, while dancer Lim Li Jun will reprise her role of the orator.
'The performance will be in Penang Hokkien and the actors have learned traditional puppetry singing techniques. The chemistry between the actors is different now, so the backstory has been adjusted a bit,' says Yeo.
'There are also some changes with the staging, since it is a new venue with new set and lighting design, and this time, we have the musicians playing live at the back,' he adds.
(Chinese glove puppetry is usually accompanied by a variety of percussion instruments and sometimes, traditional string and wind instruments.)
Yeo says that the absurd theatre genre may not be as popular as on-stage comedies or musicals but he hopes Penang audiences would welcome something new.
'For me, Penang is a place where cultural appreciation remains strong – second only to KL. I hope the Penang audience can connect with the story of a puppeteer's life, which also mirrors our own journeys.
'Sometimes, the things we love may fade or get lost along the way, but we must find the strength to hold on to them,' concludes Yeo.
Le Tabouret will be staged at Auditorium A in Komtar, George Town, Penang from June 13-15.