Obnoxious Mrs. Rosepettle (Nicole-Ann Thomas) arrives at her hotel suite with her submissive son Jonathan (Alfred Loh)

The Oral Stage presents Arthur Kopit’s Oh Dad, Poor Dad, Mama’s Hung You in the Closet and I’m Feelin’ So Sad.
Directed by Kelvin Wong. KLPAC, Sept. 30 – Oct. 4 2009. Reviewed on Oct. 4.

With: Nicole-Ann Thomas, Alfred Loh, Hanneke Talbot, Aple Ang, John Aren, Linda Foo, Kevin Kei, Ishwin Singh, Raja Ummi and Az’farr Baginda.

“Oh Dad Poor Dad” is a parody about Mrs. Rosepettle, a domineering mother and her sheltered son Johnson who checks into a Caribbean hotel with a strange suitcase and even stranger house pets. At the hotel, their bizarre existence is interrupted by a wealthy naval captain and a seductive baby-sitter with tragic consequences. The play opens in a Technicolor red and white hotel suite with bellboys in turquoise uniforms; an over-the-top, unreal world that promises real neurosis. The sound effects and lighting successfully preserved the subtle creepiness throughout the play.

Nicole-Ann Thomas was a pleasure to watch as the controlling mother-bitch Mrs. Rosepettle who puts people in their places with much acid and ease. She has the play’s best lines and delivered them on target. Her long monologues did not drag, instead they amusingly justify to the audience her twisted sensibility. Thomas’ character has no qualms about being arrogant and demanding, and has convinced her son that the outside world is nothing more than a bird on a tree, waiting to poop on your head.

The sultry baby-sitter (Hanneke Talbot) tries her best to seduce Jonathan (Alfred Loh)

Alfred Loh’s transformation from the nerdy Johnson to a dashing naval captain is impressive, both physically and internally. Most audience members probably thought that they were played by two different actors. Some actors’ handling of speech-impediments comes across as forced, but Loh carried his character’s stuttering naturally and manages to invoke the audience’s sympathy rather than giggles. Despite (or maybe because of) Jonathan’s naiveté and sense of entrapment, he was the only character which grounds the play to reality. Loh succeeded in playing Jonathan not just as a clumsy weakling, but also a victim trapped in an existence which he cannot, and ultimately will not escape.

Hanneke Talbot (as the baby-sitter) was perfect as the stereotypical slut, despite the fact that she is only 17 years old. Another audience favourite is Raja Ummi as the pet piranha. She was a convincing fish in a bowl with her gurgles and wide-open, never-blinking eyes.

“Oh Dad, Poor Dad” may seem like the usual parody with exaggerated two-dimensional characters, but there many things which can be read between the lines and interpreted differently (was the captain actually Jonathan participating in an incestuous role-playing?). Director Kelvin Wong staged Kopit’s work effectively, yet also gave the audience some freedom to come up with their own conclusions. The play felt shorter than its two-hour run due to the engaging script, talented cast and good directing. Look forward to more shows by this up and coming theatre group.

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(SAR)