- Stella Kon and Desmond “Dezz” Moey share their musical journey and collaboration in this candid conversation on how the former’s acclaimed play Emily of Emerald Hill is reimagined and produced as a musical.
- The transformation introduces new emotional layers through music and song, allowing audiences to experience Emily’s world in a fresh and dynamic way.
- In this interview, Stella and Dezz reveal their insights on the creative process behind Dinner with Emily, a revue of the musical.
By Anansa Jacob
IN THE VIBRANT tapestry of Singapore’s theatrical scene, few collaborations have been as enduring and impactful as that between playwright Stella Kon and musical director Desmond “Dezz” Moey.
Their partnership, spanning over two decades, has breathed new life into classic narratives, most notably with Emily the Musical, an adaptation of Stella’s acclaimed play Emily of Emerald Hill.
As they prepare to present a unique dinner revue of the musical on July 27, 2025 at Shangri-La Singapore, they took the time to share insights into their creative journey, the evolution of the production, and their future aspirations.
Creative partnership forged in theatre
Their collaboration began serendipitously, shortly after they were introduced by Dr Kenneth Lyen, who is also a prolific author and musical theatre aficionado.
Desmond recalls, “He, myself, and [singer, composer and social entrepreneur] Sean Wong were playing tennis together and asked what do we do with all this great talent among us, and so we decided to [join] a musical theatre society.”
This initiative led them to Musical Theatre Limited (MTL), a platform dedicated to nurturing original Singaporean musicals. Stella joined the group, bringing her rich storytelling prowess, and together, they embarked on a series of productions that have since become cornerstones of Singapore’s musical theatre landscape.
Together, Stella and Desmond have worked on Lost in Transit, Peter and Pierre, Merlion the Musical and Lim Boon Keng the Musical.
From monodrama to musical
Emily of Emerald Hill, originally a monodrama, tells the story of Emily Gan, a Peranakan woman navigating her roles as wife, mother, and matriarch in mid-20th century Singapore.
The play’s transformation into a musical was a collaborative effort between Stella and Desmond. Desmond composed the music, enriching the narrative with melodies that capture the emotional nuances of the characters.
Reflecting on the adaptation, Stella notes, “It was a new script and new songs, so when it came on stage, Desmond and I were so happy to see that converting the monodrama into a multi-person play does work, and that the songs really convey the key points of the play.”
Musical style and cultural influences
Desmond describes the music as theatrical in tone and structure. “The mood and texture suited the conversation and action. It is designed to be strongly melodic, rather than functional or over-stylish.” This approach ensures that the music enhances rather than overwhelms the storytelling.
Elements of Peranakan culture also play a role in shaping the musical’s sound. While the melodies are theatrical, they capture the essence of Emily’s world, providing an additional layer of authenticity and cultural resonance.
Innovating with a dinner revue
The upcoming dinner revue presents a fresh take on Emily the Musical. Unlike traditional stagings, this version is tailored for an intimate dining setting. The revue show will be produced by Desmond, with coordination from director Eleanor Tan.
Stella quips, “One of the first things we realised was it’s going to be too long for dinner theatre.”
The revue is structured into three acts, each approximately 20 minutes long, interspersed between dinner courses. This format allows the audience to savour both the culinary delights and the theatrical excerpts seamlessly.
Stella shares, “We’re talking about a small cast of two women and two men. This is a dinner show, and [while one singer is performing] the other three characters in the show may move around... they are very fluid.”
This dynamic approach ensures that the storytelling remains engaging within the dinner setting.
Desmond highlights the adaptability required for such a venue, stating, “I think the show will feature about 80-90 percent of the [original] show. Only one or two pieces which are not appropriate for dinner theatre will be left out.”
This thoughtful curation ensures that the performance complements the dining experience without compromising the narrative’s integrity.
Lessons from the past and looking ahead
Reflecting on their journey, both Stella and Desmond acknowledge the evolution of their craft. Stella says, “The first production of Emily of Emerald Hill that I ever saw was in Edinburgh at the Commonwealth International Arts Festival, and it was wonderful because it was a totally international, sophisticated audience who was able to follow the patchwork structure and was very, very open to a foreign culture show.”
This experience underscored the universal appeal of Emily’s story and the importance of cultural representation.
Desmond, always attuned to contemporary trends, muses about incorporating modern musical elements. He jests about introducing hip-hop into their compositions, drawing inspiration from successful integrations like in Hamilton.
“I’m doing a master’s degree in songwriting with Berklee [College of Music], ending very soon. And I discovered that the music scene is very powerful and moving with the times,” he shares. This openness to innovation ensures that their productions remain relevant and resonate with diverse audiences.
Future endeavours
Both artists are far from resting on their laurels. Desmond is committed to continuous exploration in songwriting and musical theatre.
He reveals, “I will do it to the last breath... I’m already forming groups to write other kinds of musicals, different people and different perspectives, and I’ll provide the music and the guidance in terms of the story.”
This collaborative spirit promises a rich array of future productions that reflect varied narratives and musical styles.
Stella, on the other hand, is delving into literary pursuits. She is currently undertaking a master’s in creative writing at Lasalle College, with the ambition of penning a biography of her great-grandfather, Lim Boon Keng.
“Hopefully, I will write a book on great grand dad... not a historical novel, but a piece of creative non-fiction,” she elaborates.
Beacon of light for the arts
The many collaborations between Stella Kon and Desmond Moey exemplify the synergy that propels Singapore’s arts scene forward. Their dedication to reimagining classic tales, embracing innovative formats, and nurturing new talents ensures that stories like Emily’s continue to captivate and inspire.
As they prepare for the upcoming dinner revue, audiences can anticipate a harmonious blend of culinary and theatrical artistry, a testament to their creative vision and enduring partnership.
