Here’s a list of the top 10 ArtsEquator articles in 2019: Enter Stage Right: Tay Tong by ArtsEquator “It is amazing how one’s identity is so associated with one’s job. Especially for me – after 30 years, all of a sudden I am no longer the MD of TheatreWorks, I’m no longer the producer […]
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Matt Lyon, Naeem Kapadia, Kathy Rowland and Nabilah Said discuss their top picks for theatre in 2019. Content warning: Mentions of sexual assault/violence, self-harm and suicide. Duration: 38 minutes Stream Podcast 72: Also available on Spotify. Download Podcast 72 here (right-click and select ‘Save Link As’ on Windows; control+click and select ‘Save Link As’ on Apple)
Podcast 72: ArtsEquator End-of-Year Theatre Podcast 2019 Read More »
In this latest podcast episode, Kathy Rowland, Matthew Lyon and Naeem Kapadia discuss recent productions The Hawker by Second Breakfast Company, an immersive piece that pays homage to individuals in a hawker centre, and Rumah Dayak by new theatre collective Rupa co.lab, which puts the experiences of troubled Malay youths centrestage. Duration: 30 minutes Stream
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By Nabilah Said (1,500 words, 7-minute read) Spoiler Alert: The following contains major spoilers for the shows A Fiend’s Diary and Heather. I watched the stories of two monsters in the theatre recently. In A Fiend’s Diary, Oliver Chong plays an unnamed man who kills a young victim in a fit of what can
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Theatre critics Corrie Tan, Nabilah Said, Carolyn Oei and Kathy Rowland discuss the recent production of WILD RICE’s Merdeka / 獨立 /சுதந்திரம், in a critics-led post-show conversation held in front of an audience on 19 October 2019 at WILD RICE’s Ngee Ann Kongsi Theatre. The Critics Live session is organised by ArtsEquator. The transcript below
Podcast 68: Critics Live! Wild Rice’s Merdeka Read More »
Join critics Corrie Tan, Nabilah Said, Carolyn Oei and Teo Xiao Ting in a post-show conversation about W!ld Rice’s Merdeka. Critics Live is a critics-led programme series created by ArtsEquator to give arts audiences an insight into how critics formulate their responses to performances. REGISTER NOW at criticslive19.peatix.com PLEASE NOTE: This event is open to
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By Nabilah Said (1,900 words, 7-minute read) In less than a week, Drama Box will premiere Tanah•Air 水•土: A Play In Two Parts, a production revolving around the theme of histories, those that are remembered, and those who are sidelined. Tanah•Air features a team led by the company’s artistic director Kok Heng Leun, playwrights Neo
Translating Homeland: Tanah•Air 水•土: A Play In Two Parts Read More »
By Faezah Zulkifli (1,020 words, 4-minute read) “ORANG_” The wordplay in Teater Ekamatra’s A Clockwork Orange is no accident. An inventive linguist, author Anthony Burgess, who lived in Malaysia in the 1950s, borrowed the title for his magnum opus from a Cockney expression, and introduced the pun on the Malay word ‘orang’ into the subject.
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By Nabilah Said (1,670 words, 7-minute read) We are in a rehearsal for Seven Views of Redhill. Well, not me – I am just a hanger-on trying to fold myself into a corner of the Chesterfield-like sofa backed up against a wall in a room I am told is called the ‘Back of Chamber’,
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We step into the dimly-lit theatre of The Lion & Unicorn, a soft, almost dream-like blue wash over the noticeable emptiness of the stage – save for a skeletal cardboard cut-out resembling a door frame, carefully set stage left. There was nothing, yet everything to expect. Researching about The Cardboard Kitchen Project had been a
Diasporic Dispatches: “The Cardboard Kitchen Project” by FK Co-Lab Read More »
By Nabilah Said (1,119 words, 6-minute read) There is a Malay proverb: “sedangkan lidah lagi tergigit”, that roughly translates as “even the tongue can get bitten”. It applies to groups of people, such as a husband and wife, or siblings, who, despite their close relationship, can fight or have a misunderstanding. Perhaps that is the
Love me tender: “Eat Duck” by Checkpoint Theatre Read More »
Duration: 37 min In this latest podcast, ArtsEquator editor Nabilah Said and theatre reviewer Naeem Kapadia discuss the productions We Were So Hopeful Then (written by Ellison Tan and directed by Alvin Tan) and Acting Mad (with texts by Haresh Sharma, Harris Albar and Maryam Noorhimli and directed by Haresh Sharma), presented as part of
Podcast 64: The Orange Production 2019 Read More »
By Nabilah Said (820 words, 5-minute read) In the pre-show for Forked, playwright and performer Jo Tan is warming up, prepping her body. We see her assume the plank position, a fractured toe from rehearsals armoured in a padded thermoplastic boot. Just like Tan, this play has been reinforced. When it was performed in January
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By Nabilah Said (1,100 words, 6-minute read) “The best seats are on the sides.” A friend’s advice guided my decision when I went to review First Fleet by Nine Years Theatre. Mindful of spoilers, she had not said why, but the reason became obvious as soon as I stepped into the auditorium of the cavernous
Looking away for clarity: “First Fleet” by Nine Years Theatre Read More »
