1826. Sir Stamford Raffles lies on his deathbed, delirious with dreams and hallucinations, whilst his wife Sophia frantically records his biography. A giant Rafflesia blossom invaeds his bedroom; he meets his deceased first wife Olivia, and encounteres a talking statue who bears prophecies of greatness. As his life flashes pastbefore him, we witness his birth at sea, his early voyages, his triumphant founding of Singapore, and his eventual tragic downfall - with his children dead of tropical diseases, his research destroyed in a burning ship, and himself bankrupted and diagnosed with syphilis.
Wild Rice's new play,
The Last Temptation of Stamford Raffles, would have led one to spur his imagination into the extraordinary, with the concise 75min act teethering on the brink of confusing the audience (or at least, me) into oblivion, and boosting their history lesson in a different light. My particular favourite segment was when the white Raffles statue rallies the support of his Eurasian counterpart, calling him "black", and how confusing it was if they stood not far from each other near the Singapore River (If you are familiar with this, you'd know that the White Raffles statue is located outside The Arts House, whereas the bronze or black Raffles statue is in front of the Victoria Theatre).