By Chan Sze-Wei (1,110 words, six-minute read) Norhaizad Adam’s second full length work with his company P7:1SMA (say “prisma”) is set in another world. The audience steps through the door of the Drama Centre Black Box into an arena of wooden crates and sacking, the whiff of wood and coffee beans in the warm light […]
“Ngopi” by P7:1SMA: Stop and Smell the Coffee Read More »
This is the book to own or read if you are in any way invested, connected and working with children as well as people with special needs. It is exactly as the title says: an effort to be inclusive, empowering and celebrate all people. The book is divided into five sections: Inclusive dance pedagogy; Equality,
In the assembly hall of Chatsworth International School hang six statues of Sir Stamford Raffles. However, these aren’t your typical heroic effigies of Singapore’s chief colonist. They’re headless, legless, composed of patchwork fabric with Javanese words stitched into their skins, dangling from the ceiling at odd angles, as if participating in an erotic rope bondage
The Artists’ Colony: A Review of OH! Emerald Hill Read More »
By Akanksha Raja (780 words, five-minute read) Pangdemonium’s first play of 2018, The Father, revolves around the 70-year-old titular character, André (Lim Kay Siu), and the harrowing effects of his increasingly uncontrollable symptoms of dementia on daughter Anne (Tan Kheng Hua), her partner Pierre (Emil Marwa), and Laura (Frances Lee), one of a series of
Pangdemonium’s “The Father”: Dementia Becomes Us Read More »
Marking Kumar’s 50th year alive, and the start of Dream Academy’s 2018 season at the Capitol Theatre, Kumar50 is a celebration, a retelling of history, but most of all, a show meant to entertain — Kumar is the undisputed queen, and star, of the Singapore drag scene. Kumar50 is also here to make some money:
“Kumar50”: More significant than SG53 Read More »
By Chloe Chotrani (1,040 words, five-minute read) The one who loves you hits you. The one who hits you loves you. The one who loves you hurts you. This is a piece about relationships, unfortunately. (We can’t get away from them.) One woman, one chair, one microphone. And a chair opposite her, for you. In
“Talk to me and I slap you”: confronting intimacy and violence Read More »
By Bernice Lee (995 words, four-minute read) The Esplanade Theatre Studio is awash in red light. It feels like the set of a Marvel movie – gloomy and dystopian; a planet overtaken by villains, awaiting rescue. Red mechanical legs hang from above the stage. The audience sits in the round, beyond the reach of this
From the lucid dream of “Cut Kafka!”, a promising new artistic path Read More »
By Corrie Tan (1,300 words, eight-minute read) This review has been translated into Mandarin by Liu Xiaoyi, artistic director of Emergency Stairs. Read his translation here. If the avant garde director Robert Wilson died and went to purgatory, Einstein in the Carpark is probably where he’d end up. Part performance, part installation, part misshapen creature stitched together
Life isn’t a beach in “Einstein in the Carpark” Read More »
By Akanksha Raja (920 words, four-minute read) On the heels of Objectifs Centre’s January showcase “we will have been young”, a group exhibition of works by fledgling Southeast Asian photographers themed on contemporary youth culture and the future, comes a very different solo showcase. This latest exhibition reverses its gaze, looking backwards on snippets of
Lui Hock Seng: The Past and Passing Read More »
There is an unspeakable tranquil that washes over the audience seated inside the chapel at Objectifs – Centre for Photography and Film in Singapore. For the first five minutes of Be Longing by Sara Tan and Yejin Kwon, the windows are thrown open and we watch the traffic of Middle Road roll past. Passers-by unknowingly become performers as
“Be Longing” moves between home and away Read More »
By Rebekah Sangeetha Dorai (1,150 words, 8-minute read) The final instalment in Ravindran Drama Group’s trilogy, Adukku Veetu Annasamy 3, picks up right after the lovers Rajendran (Annasamy and Kokilavani’s son) and Prema (Panchatcharam and Gunasundari’s daughter) have parted ways. Their incessantly nosy neighbour, Sathiavathy, is cajoling the family into finding Prema a groom in India. The
“Adukku Veetu Annasamy 3”: a rip-roaring trilogy comes to a close Read More »
The following roundtable discussion was held as part of the Lyn Gardner Theatre Reviewing Training Programme. Particpants Teo Dawn, Ezekiel Oliveira, Isaac Lim, Patricia Tobin, and Richard Chung discussed Displaced by Ground Cover Theatre, staged at the M1 Singapore Fringe Festival 2018. The play examined the migrant experience through the lives of three women from different backgrounds,
“Displaced” by Ground Cover Theatre at the Singapore Fringe: A Roundtable Read More »
By Naeem Kapadia (885 words, 5-minute read) It’s an exciting time for the emerging playwright in Singapore. Workshops, residencies and other artistic opportunities abound to develop and showcase fresh work, often in collaboration with theatre companies. These include platforms such as The Wright Stuff by Toy Factory, The Orange Production by The Necessary Stage and
“Platform Series: Journeys”: Of Skin and Sole Read More »
By Chloe Chotrani (1400 words, 12-minute read) Dance was practiced as a devotional union between the ancestral and earthly realms through ritualistic performances in architectural spaces, with its genesis in India, extending into Southeast Asia. This essay examines the bronze figures of deities and temple traditions in Angkor, Cambodia in relation to ancient Hindu traditions
Dance as Devotion in South India and Southeast Asia Read More »
By Corrie Tan (1228 words, 10-minute read) A man is rising from the water. The sea is birthing him: his closely-cropped hair, his bare chest and shoulders, his damp sarong clinging to his thighs. On land, another man with a shorn scalp is sitting cross-legged in the sand and mud, his distended lips pulled back
“Cinta Tuah Jebat”: Love on the Rocks Read More »
“The party is not the….”, a visitor beside me squints into a portrait, trying to make out the tiny words handwritten just below it. After the words, an ‘Erica’ is signed. “The past is not the past”, I corrected him. He grins and then realises. That is the name of the exhibition, after all. ===
“The Past is not the Past”, an exhibition to remember (via The Online Citizen) Read More »
By Wong Wen Pu (600 words, 4-minute read) Forked by Jo Tan follows the experiences of one Jeanette Peh (played by Ethel Yap), a Singaporean student, as she heads to London to study acting, against the vehement objections of her father and the reluctant acquiescence of her mother. Already a minor celebrity in Singapore through
“Forked” by Jo Tan: An Uneven Production Read More »
By Bernice Lee (722 words, 5-minute read) Jo Tan’s first full-length play Forked hits plenty of right notes. High energy, uncomfortably honest and deliberately racist, it’s funny because it’s true. In spite of its great momentum however, the play’s pace feels weighed down by its thematic frames, just as the characters are stuck within their
“Forked” by Jo Tan: Shapeshifting Identities Read More »
By Richard Chung (738 words, 7 minute read) Jo Tan’s playwriting debut offers a simple yet familiar story of one Singaporean girl with big dreams. In Forked, Ethel Yap plays Jeanette, a young aspiring actor who heads to London for drama school. Upon arrival in London, Jeanette gets the biggest culture shock of her life
“Forked”: Privilege Gets Served Read More »
By Isaac Lim (676 words, 6-minute read) Jeanette Peh promotes herself as a ‘star’, with ‘over 500 followers’ on her ‘Stage Whispers’ YouTube channel which promises straight-up, no-holds-barred confessions. Is that the reality, or is she just a wannabe? Jo Tan’s first full-length play, Forked, directed by Chen Yingxuan, is a laugh-a-minute comedy, albeit one that
“Forked”: An Asian Crisis Read More »
By Teo Dawn (736 words, 7 minute read) (Transcript for SunSh!neGurrl*94’s YouTube video – A Reaction Video to Forked by Jo Tan) Hello everybody, ni hao and welcome back to my channel. I have been reading your comments and you asked for more of my reaction videos. Love that you guys think so highly of
A Reaction Video to Jo Tan’s “Forked” Read More »
By Ezekiel Oliveira (546 words, 4-minute read) Jeanette Peh is determined to become an actor, but she already thinks she is something of a star on her YouTube channel ‘Stage Whispers’ which has 500 subscribers. She turns down a place at Law School in Singapore to fulfil her acting dreams instead. But in London, her
“Forked”: Jeanette doesn’t do Asian Read More »
By Patricia Tobin (800 words, 6-minute read) When I was 19, I left Singapore to pursue my studies in Melbourne. I foolishly thought that any city, anywhere else in the world, would be better than this tiny island. In Melbourne, I became more aware of my “otherness”. At an Irish pub in St Kilda, a
Get “Forked”: Finding our Racial Identity Read More »
By Euginia Tan (707 words, 5-minute read) As I am waiting for the show to begin, the glint off the four silver chairs forming the basis of the set of Forked is sharp, unyielding, with a trophy rested on one of them. Forked then commences with a highly frenetic, animated monologue by protagonist Jeanette Peh,
M1 Singapore Fringe Festival 2018: Forked by Jo Tan Read More »
Spoiler Alert: If you’re planning to experience the mystery and suspense of Attempts: Singapore, read only after you’ve attended the performance. By Patricia Tobin (788 words, 6-min read) “She is a terrorist, she is a cultist, she works for sex.” “Who is she?” Like a foggy recreation of a Black Mirror episode, Rei Poh’s Attempts: Singapore
Looking within with “Attempts: Singapore” Read More »
Spoiler Alert: If you’re planning to experience the mystery and suspense of Attempts: Singapore, read only after you’ve attended the performance. By Isaac Lim (508 words, 4 minute read) 1957hrs: I arrive at the lobby of Centre 42, which has been converted into the headquarters of multi-million dollar corporation, ARC. In Attempts: Singapore, a theatre-game-experience created
“Attempts: Singapore”: Is the Anne nigh? Read More »
Spoiler Alert: If you’re planning to experience the mystery and suspense of Attempts: Singapore, read only after you’ve attended the performance. By Richard Chung In a world of innovative theatrical experiences, you often come across too many that scrimp on either execution or narrative. That’s not the case for Rei Poh’s Attempts: Singapore, which operates as a thoroughly
“Attempts: Singapore”: Game On Read More »
Spoiler Alert: If you’re planning to experience the mystery and suspense of Attempts: Singapore, read only after you’ve attended the performance. By Ezekiel Oliveira (589 words, 5-minute read) Humanity may be under threat, the end of the world might well be nigh. That’s the premise for Attempts: Singapore, an immersive performance where the audience is cast
“Attempts: Singapore”: The Curtains Don’t Match the Drapes Read More »
Spoiler Alert: If you’re planning to experience the mystery and suspense of Attempts: Singapore, read only after you’ve attended the performance. By Teo Dawn (650 words, 5-minute read) Attempts: Singapore by Rei Poh is a participatory piece of theatre inspired by Martin Crimp’s Attempts on Her Life. Fragmented, non-linear, and similar to a video game experience,
“Attempts: Singapore”: Let The Games Begin Read More »
Spoiler Alert: If you’re planning to experience the mystery and suspense of Attempts: Singapore, read only after you’ve attended the performance. By Jocelyn Chng (518 words, 4-minute read) Most performances in Singapore keep the audience in their place, passively sitting and watching. Attempts: Singapore is an attempt at getting the audience up on their feet and
“Attempts: Singapore”: An Uncertain Attempt Read More »
