AL Wealth Partners Pte Chief Executive Anthonia Hui moved to Singapore from Hong Kong ten years ago – and proved invaluable to W!LD RICE almost immediately. She acted as Pam Oei’s vocal coach in our 2002 production of Boeing Boeing, teaching Pam the finer points of the Hong Kong accent.
Anthonia has been a W!LD RICE Angel since October 2002.
Tell us a little bit about how W!LD RICE came onto your radar. Do you remember the first W!LD RICE show you ever watched?
Glen Goei is a long-time friend of mine. When I first got to Singapore in late 2000, we met up and he subsequently invited me to watch Boeing Boeing in 2002.
What prompted you to come on board with W!LD RICE as an Angel?
The performing arts has the biggest scope to reach out to audiences from all walks of life. As a foreigner, when I watched Boeing Boeing and discovered how cleverly W!LD RICE had incorporated the local culture and humour into the show, I got to learn from a ‘fun’ perspective about Singapore and I knew W!LD RICE was the theatre company that I should support.
What aspects of W!LD RICE’s shows appeal to you?
All of them, especially those injected with a great sense of humour and local flavour.
What has being one of W!LD RICE’s invaluable Angels meant to you?
I don’t have a specific answer for this but if there is something we can do to support W!LD RICE and allow it to thrive in Singapore, we are doing our part as “converted Singaporeans” to raise the awareness of how the performing arts can enrich one’s life and one’s understanding of the culture of a country.
Your support has helped us put up some truly incredible shows. Do you happen to have any sentimental favourites among them?
It has got to be Emily Of Emerald Hill, as the acting and messages in the show are so strong that it’s stuck in our minds forever. It also provides insight into the Peranakan culture in this part of the world.
What are your views on the current theatre scene in Singapore?
There is a lot more the performing arts can do to explore the differences in society, bridging generational gaps and engaging the public – teaching them how to deal with life and obstacles with a sense of humour and without losing the sense of the civil values that we all share and uphold.
How important are theatre and the arts to you personally?
I was raised in the “desert of culture”, Hong Kong, and never understood the need to be “cultured” until I worked and lived in London. There, I grew to appreciate the need and importance of enjoying the arts to enrich one’s life and cultivate the mind. So I would like to see this thrive, especially in cosmopolitan societies like Singapore and Hong Kong.
I am pleased to see that both governments are doing much to promote it but, instead of jumping to promote newcomers, they should not forget to support those who have proven themselves but still need the financial support to sustain their existence. These organisations are the role models for the newcomers and often the iconic references for the public of the progression of the society and history of a particular era in time. Without the support of their followers and government aid, they will eventually die out and disappear into history.
Singapore is a young country and it should not be ‘cancelling’ out those who are still young and dynamic like W!LD RICE. We should help to nurture them to the fullest potential so they can inspire others to succeed in the same field.
