Playwright Michelle Tan’s new work, *The Radicalisation of Mrs. Mary Lim-Rodrigues*, opens at the Ngee Ann Kongsi Theatre on September 24, inviting audiences to reconsider the meaning of radicalism in contemporary society. The fictional play centers on a school principal who challenges the education system after the suicide of one of her students, drawing from Tan’s 14 years of experience as an educator.

Tan, 39, chose the title deliberately to provoke reflection on the term "radicalisation," which has carried heavy negative implications since the events of September 11, 2001. She contrasts this with a recent incident in Singapore where four women were charged for organising a mass kite-flying event at Marina Barrage, intended to raise awareness of violence in Gaza. The playwright notes the irony in the public perception of what constitutes radical action.

Through the narrative, Tan explores themes of systemic change and personal transformation. The play grapples with questions of what it takes to alter entrenched practices, emphasizing that radical change is sometimes necessary and morally justified. While acknowledging the importance of established procedures, Tan reflects on her own tensions with institutional norms, underscoring the difficulties in discussing sensitive issues within both formal and informal educational spaces.

Although the script exists firmly in the realm of fiction, it channels real-world emotions and dilemmas, particularly focusing on the challenges of pre-emptive intervention and coping with tragedy’s aftermath. Tan remarks that the play originated as a way to start a conversation, if not with others, then at least with herself about these complex topics. Regarding the protagonist’s emotional journey, Tan expressed hope that she shares with Mrs. Lim-Rodrigues a commitment to propriety and an earnest desire to act rightly, even when doing so is arduous.

Stylistically, *The Radicalisation of Mrs. Mary Lim-Rodrigues* departs from conventional stagecraft. Inspired by Italian playwright Stefano Massini’s *The Lehmann Trilogy*, Tan designed her script with a novelistic approach, choosing not to assign specific lines to characters but instead including detailed introspective descriptions. This allows the audience to engage with the protagonist’s inner thoughts and the tension between internal reflection and external expression. During a work-in-progress reading at the Singapore International Festival of Arts in 2025, some audience members found the format challenging, likening the experience to listening to an audiobook. Tan welcomed the feedback as a useful insight into audience reception.

Director Edith Podesta expanded the production for its premiere by increasing the cast to nine, including an ensemble tasked with voicing Mrs. Lim-Rodrigues’ internal monologue. The lead role is performed by Janice Koh, supported by actors Ryan Ang, Izzul Irfan, Koh Wan Ching, and Suhaili Safari. Combined with set design and choreographed movement, the staging aims to give the play a distinctive atmosphere.

Reflecting on the broader implications of her work, Tan acknowledges that meaningful change often exceeds a single lifetime and carries costs shared by many. She rejects the idea of simple solutions, emphasizing the need for flexibility in pedagogical methods, approaches, and class sizes. “If I had a quick fix,” Tan remarked, “I wouldn’t have had to write a play.”