‘SOLO’ Season 3 Redefines The Superhero Through Monologues

The singular world of monologue plays strips away any safety nets, leaving an actor entirely exposed to the audience’s gaze.

This raw vulnerability was the heartbeat of BlacSpiceMedia’s ‘SOLO’ Season 3, a theatrical production that ran four shows from March 26 to 28. This year’s showcase featured four distinct narratives, two in Tamil and two in English, offering a bilingual mirror to the complexities of modern life.

Embracing the theme of ‘Superhero,’ the latest production consciously pivots from traditional caped crusaders and historical legends. Instead, it shines a spotlight on the ‘everyday hero,’ suggesting that a quiet, monumental bravery resides within the struggles and dreams of ordinary citizens.

The repertoire kicked off with “‘Mess’iah” penned by Yogesh Tadtwalkar and performed by Mark Seow, which challenged the audience’s moral binary by questioning whether the “demons” of our society are truly as they seem, forcing a re-examination of judgment and perception.

In a poignant shift inward, Kalaivani Ilango’s ‘Kakkoos’ (Toilet) explores the sanctuary of the restroom. The Tamil monologue follows a man, performed by actor Shafie Bada Jabari, who uses this private space to release the mounting mental health pressures he feels forced to hide from the public.

Labour and gender were the focal points of ‘The Singapore Girl’, written by Melizarani T. Selva and performed by Joanna Francois. This English-language piece sheds light on the contributions and the emotional toll on women working in the service industry.

Rounding out the show was ‘Maayakkaari’ (The Magician), written by Suriya Retna and performed by Mathana Subhas Balan, a mystical Tamil narrative that depicts the lived experience of a woman with supernatural abilities.

The production’s success was rooted in its ability to transcend linguistic barriers. Producer of SOLO and director of “Mayakkaari”, Saleem Hadi, emphasised that the emotional core of theatre is universal. 

“By conducting bilingual plays, the structure and heritage of Tamil theatre is brought to a much wider, more diverse audience,” he said.

This cross-cultural synergy was perhaps best exemplified by Noor Effendy Ibrahim, a Malay director who directed Kakkoos. “In the movement of the actor, even if the language isn’t understood, what matters is not just the message, but how it is being conveyed,” he noted. The production serves as a vital reminder that regardless of one’s profession or background, every human being carries a dream, and the courage to pursue it is what makes them a “Superhero”, actress Joanna observed.

The SOLO series began in 2021 as a creative pivot during the height of the Covid-19 pandemic and has now evolved into a sophisticated annual tradition. 

Originally designed to sustain artistic performances when social distancing made large casts impossible, the ‘SOLO’ series transitioned from a pandemic necessity into a vehicle for deep, personal storytelling.