In Singapore’s fast-moving theatre scene, where product is often prioritised over process, rarely do shows get a chance to receive test audiences and the luxury of being workshopped before making it to the stage. But for Nine Years Theatre (NYT), the 2024 Singapore International Festival of Arts (SIFA) offered them a unique opportunity in the form of Tomorrow and Tomorrow, a showcase of works-in-progress given a test-drive and audience feedback. Now, one year on, NYT is back at SIFA, armed with a brand new, full-scale version of Waiting for Audience, as part of the 2025 main programme line-up.

Written and directed by Nelson Chia, who stars alongside wife and producer Mia Chee, Waiting For Audience presents both Nelson and Mia as two actors in an old theatre, on its final performance night. In the same vein as Beckett’s Waiting For Godot, both of them wait, and wonder if the audience will ever come, as the actors ponder and explore the bond between performers and spectators.

“When we first presented Waiting for Audience, we didn’t expect a full version to come out the following year,” says Mia. “We thought we were just creating a light 45-minute piece. So it’s been really delightful to get this second chance to develop it further. It’s like when artists are asked to expand a short piece into a full-length play—it’s an exciting challenge for both the playwright and the director. It’s rare to get the chance to present a ‘draft one’ version of a work, and then getting the chance to develop it into a second iteration so soon after, so this kind of continuity is quite special”

“It’s not just about having a long runway—it’s also the opportunity to sustain interest and further develop a work. That’s usually rare, but recently we’ve seen more of it—companies restaging their own productions, changing casts, or presenting improved versions. Some institutions now also take a longer-term view, supporting sequels or continued development,” adds Nelson.

Among the 13 presentations from Tomorrow and Tomorrow, only Waiting For Audience has been picked up by SIFA to be presented, while Pangdemonium’s Singapore, Michigan will be presented as part of their main season in June. “At last year’s SIFA, most groups presented excerpts from works they were in the process of making, which seemed to be the platform’s direction,” says Nelson. “But for us, we didn’t have anything ongoing. So we decided to start something new—something complete. We wanted to create an entirely original work, and we’re fortunate SIFA gave us the opportunity to take that further with a more fully developed version.”

The idea for Waiting For Audience first came about around the end of 2022 in passing, and after having produced so many full-length shows, NYT was ready to try something short-form and on a smaller-scale, that they could potential take on tour to fringe festivals with more universal appeal while keeping it clearly their own. “When we first visited the Avignon and Edinburgh Fringes, there were very few Asian works. If there were any, they were mostly non-verbal or physical theatre. We hardly heard Asian voices, especially in their native languages, and as a Singaporean-Chinese theatre company, we wanted our real voices to be heard, so the piece became text-based,” says Mia.

“Waiting for Audience is meant to reflect how we negotiate multiculturalism in Singapore daily. We speak Mandarin, though it’s not our mother tongue; most Singaporeans are Southern Chinese, and Mandarin is a Northern dialect. We’re English-educated, and often think and argue better in English, and even our English and Mandarin are influenced by our colonial past,” he continues. “Being based in Southeast Asia—surrounded by ancient cultures in a modern city—creates a unique artistic flavour. It’s not explicit in the content, but it comes through in the taste of our work. It’s very different from a Taiwanese or American group.”

On how much the work has changed between last year and this, Nelson explains “We made a conscious choice to create something text-based and to use our own language. Surtitles became integral to the piece—not just a translation tool but a deliberate artistic element,” says Nelson. “In terms of the script and content, I removed some scenes, and added others. The new version enters the play from more angles, and explores the beliefs and doubts of a performer; the paradox of being someone whose job is to ‘make believe,’ while also being expected to question and reflect. That tension between belief and doubt becomes a compelling conversation between the two characters. It’s circular, like Waiting For Godot, and essentially tells a story about a storyteller.”

Especially now with how the work is being transferred to a bigger stage at the SOTA Drama Theatre, everything else also has to be magnified to match, from the physicality to the technical aspects, involving a proscenium, flybars, and more theatrical elements. “For this SIFA version, we’ve brought in designers and added many more design elements,” says Mia. “But when we tour, we plan to scale it accordingly, where the sound design will follow, but the spatial design will adapt to each venue. In fact, right after SIFA, we’re taking it to Milan, and we’ll need to re-block the play entirely for that space.”

As co-founders of NYT, both Nelson and Mia have worked together extensively, including on the recently concluded, critically-acclaimed restaging of See You, Anniversary back in February, and while they are given distinct roles in this production, there is nonetheless a very keen process of feedback and editing they are both involved in. “I tend to push a lot during the creative process, and Nelson always fights back—it’s quite fun working together. There’s no concern about offending each other. We’re very honest, constantly proposing new ideas, and he doesn’t hesitate to shoot them down when needed,” says Mia.

“The result is that feedback from each other, and as we’re both actors, we can test it out immediately. Everything is direct, immediate, and frank. We rewrite together, and that’s exciting. It creates a space where rules feel organic or even nonexistent,” adds Nelson. “At NYT, we’ve long approached the idea of a work as being both product and process-driven. We do value the process, but the outcome matters too—especially for audiences who spend time and money with us. The process should then lead to a worthy product, and that thinking has driven a lot of what we do.”

Both Nelson and Mia also hope that this show lets audiences realise that NYT isn’t as all ‘serious’ as they often come across to others, and have the potential to swing towards the lighter side of things as well. “Most NYT shows I’ve acted in are character-driven, stories about people in different contexts. But with Waiting for Audience, because of its absurdist nature, we had more creative freedom in how we shaped the characters,” says Mia. “The mixed genres in the play made it really fun to rehearse. There were so many elements to play with, and it brought out a very playful side to us we don’t often get to show.”

“When we first presented it, many people were surprised. NYT has a reputation for being well, not as ‘rah-rah’ as other companies. But people who know us know we’re not that serious,” says Nelson. “Sure, some themes are heavy, but we’re not solemn people. I remember going back to Chestnuts, which was something I’d always done with Jonathan Lim, and in the 2022 revue, people were shocked. ‘You’re good at comedy?’ That’s when I realised how much NYT’s image has shaped people’s perception of me, and this is a chance to show people that lighter side.”

Beyond showcasing NYT’s range, both Nelson and Mia also appreciated the long gestation period the show has had compared to other local works, not only in terms of verbal feedback, but also their own observations of how the audience reacts at various points in the show, and how else to approach it in this new version. “Dealing with reviews and audience feedback is a long-term learning process. Over the years, I’ve realised that you can’t make a work for everyone,” says Nelson. “Trying to do that means making a work for no one. You focus on those who already connect with it and make it better for them. A chef can make a great oyster dish, but if someone doesn’t like oysters, they’ll never enjoy it. So in the end, I’m not burdened by the need to please everyone. It’s enough to understand why someone may not like it and learn from that.”

With this ‘new’ side of NYT, having grown leaps and bounds from their original slate of work translating theatre classics into Singaporean Chinese, Nelson and Mia are still eager to explore further, while keeping an eye on the sustainability of the company. “At this point, we’re still trying to continue building our following, especially post-COVID. At See You Anniversary, 73% of the audience were seeing NYT for the first time. We’re constantly figuring out how to retain audiences while bringing in new ones,” says Mia. “Our programming spans very different genres. For instance, Everything for You was a relatable family drama that brought in a mass audience. But when they expect all our shows to be like that, it can be tricky. Conversely, some people may not enjoy that kind of work. Managing those expectations is always a challenge.”

“Producing shows over the years, there are always moments when I worry about audience turnout—especially now, with last-minute ticket-buying habits,” adds Mia. “Some previous productions saw low advance sales, but word of mouth has always helped us. With See You Anniversary, we were stressed in the lead-up, but once the show opened, it sold out toward the end. That response is a testament to the quality of the work and how much it mattered to audience.”

“NYT has its own challenges in each era. At this stage in our arts scene, we need to push forward conversations about the value of art. Art and culture must be part of our national discourse—just like finance, healthcare, or housing,” says Nelson. “We also need to build pride in Singapore theatre. Even if you’re not involved directly, we need to move past the idea that we don’t have good local art. We do have that! And some of our work is strong enough to be on international stages.”

“Ultimately, we do believe in humanity,” he concludes. “We believe people care—about injustice, about love, about those who need help. The world may seem cold and selfish, but when you strip away the noise, people still care. Our stories are reminders of that humanity. We forget to love those around us, and sometimes stories bring us back to that. So more than ever, we need to be more aware, more present, and take action today—because today is the future.”

Photo Credit: Nine Years Theatre

Waiting For Audience plays from 30th to 31st May 2025 at the SOTA Drama Theatre. Tickets available from BookMyShow

The 2025 Singapore International Festival of Arts runs from 16th May to 1st June 2025. Tickets and more available here