Dick Lee’s Fried Rice Paradise first hit the stage in 1991, serving up a sizzling Singaporean classic cooked with vibrant characters and a spicy family feud. At the heart of this flavourful feast was Choo Bee Lian, the matriarch of a famous fried rice chain, ready to hang up her wok, but her two daughters, Bee Lee and Bee Hoon, are locked in a fierce cook-off to inherit the family legacy. As the heat turns up, secrets bubble to the surface, and each character adds their own special seasoning to the mix.

Since then, the iconic musical has become a classic of Singapore theatre, and was revived in 2010 by Singapore Repertory Theatre, rekindling the rich tastes of Singapore’s food and culture. Now 15 years on, SRT is back again and reimagining it yet again, reviving it as Fried Rice Paradise – The Makan Party, an immersive dinner theatre experience where the story is served hot alongside a delicious four-course meal. Get ready to tuck into a feast for the senses, where every bite and every beat brings you closer to the heart of this legendary culinary showdown.

When Danny Yeo signed on to direct Fried Rice Paradise – The Makan Party, he didn’t expect to find himself coordinating food service with hotel banquet staff, challenging actors with TikTok-style choreography, and balancing a full 8-course dining experience, all in the same production. But for Yeo, whose eclectic directing career spans literary food documentaries, immersive site-specific works, and children’s theatre, this latest project is the natural next step in his culinary journey.

Since COVID, Danny Yeo has found himself deeply immersed in the world of food shows and documentaries, an experience that has significantly influenced his direction. “During the pandemic, I found myself binge watching a lot of food series on Netflix, both reality TV and drama, including some Japanese series,” Danny shares. His engagement with food storytelling goes beyond watching; he has hosted three food-related documentary series. “Over the years, I feel everything I do is like Lego bricks building toward the next project. So yes, all these food series, and watching things like MasterChef, Culinary Class Wars, Thai street food shows, have informed how I want to do theatre with food.”

Danny’s collaboration on Fried Rice Paradise marks what he describes as potentially his biggest-budget production to date. The project officially began at the end of 2024 when he received the first draft of the script from playwright Thomas Lim. “We went through 4.5 versions, and now we have a fifth. Thomas has been incredibly open and receptive, whenever we suggest tweaks or even criticisms, he’s like, ‘Okay, let’s try.’” This spirit of collaboration has allowed the show to evolve dynamically, incorporating feedback fluidly. “I even asked him after draft three, ‘Is there anything you’re precious about?’ and he said, ‘Not at all. Go ahead.’ That openness is amazing.”

Danny’s involvement came through an invitation from SRT producer Grace Low, who encouraged him to watch Por Por’s Big Fat Surprise Wedding, a prior SRT production blending food and theatre. He notes, “I seldom get invited to SRT shows, to be honest, even though I’ve worked with them before. SRT functions very differently from companies I usually work with or from independent practitioners.”

Yet this time, he’s impressed by the robust logistical and administrative support behind Fried Rice Paradise. For example, the production team secured the Paradox Hotel itself for on-site rehearsals, allowing them to physically map out the stage, tables, and choreography. “There’s a scene I want to run concurrently, which I believe is quite unheard of in SRT shows and dinner theatre. I’m bringing my immersive, participatory theatre experience into Fried Rice Paradise. SRT enabled me to realise some dreams that were previously tough because of limited budgets and resources.”

The ticket price for this experience is on the higher end, at $188, which includes an eight-course meal alongside the performance. Danny acknowledges this upfront: “From both marketing and programming perspectives, I understand. We’re designing an eight-course meal, well, technically four courses, but two plates per course, making eight dishes.” Inspired by his travels to Michelin-starred restaurants in various countries, he aims for the meal to be a recognisable Singapore story. “I also understand why Singapore’s one-star Michelin restaurants are so expensive, often three times more than what I pay overseas. You start to be more tender towards why they have to do it that way. And you come back with a wish: what if I could offer something more people can taste and experience?”

Elaborating on ticket pricing, Danny reflects on the balance between accessibility and artistic risk. “Honestly, every show is an experiment, including its pricing. We learn from what works, and what doesn’t.” He recalls frustration when shows were priced too low, feeling it undervalued the team’s effort. “Since COVID, I’ve been buying $58, $78, even $128 tickets. Sometimes I regret it if the show isn’t good, but I also learn about what our audience values.”

The show can seat up to 240 people a night, with tables arranged thoughtfully to ensure good sightlines and an engaging experience for everyone. “One of my earliest briefs to Teddy, our set designer who worked on Crazy Rich Asians, was to transform the space so it doesn’t feel like a hotel ballroom or wedding banquet.” Drawing on his extensive experience with site-specific theatre, Danny designed three stages in different locations with a unique center stage that resembles a deconstructed bak kwa, symbolising yin and yang separated and reunited. “My big aim: every table is a good table. No ‘bad’ seats. Ideally, I’d love a buffet-style dinner theatre where people move around and explore, but if it’s sit-down, then how do I avoid a tennis match? After yesterday’s setup, I can tell my friends and relatives confidently: wherever you sit, you’re taken care of.”

With the combined elements of food, music, and premium pricing, Danny is aware of the challenge of grounding the show in its story and practice while attracting younger audiences who often prioritise experiential spending. “This is the same question people ask when they get cultural vouchers: why not convert them to food vouchers instead? Why are you willing to spend so much at restaurants and supermarkets but not on cultural events? If this is a cultural event with food, will you step in and give it a try?” He hopes the production will resonate with younger viewers, stating, “I grew up in a theatre community that offered discounted tickets to students. When I worked with Ding Yi on instrumental theatre, I told them: if just one young person comes and says, ‘I didn’t know you could do a show like that,’ it’s worth it, even if 10 critics scold me.”

The creative process behind the show is meticulous, with extensive research and multiple workshops helping to embed real issues faced by hawkers and the restaurant industry into the narrative. “Between us, for the past six months, we’ve been exchanging all this material. We ran multiple workshops with actors, some didn’t end up in the final cast, but the homework is deeply ingrained.” While there is no dedicated student ticket scheme, the production will be part of the Culture Pass scheme starting September, allowing access for young audiences during the final two weeks of the run.

Danny is balancing his direction with the musical legacy of Dick Lee, whose music naturally draws a diverse crowd. “We actually had a challenge picking songs. We can’t put in all of Dick’s most popular numbers if they don’t fit the show. It wasn’t until rehearsals that I realised, ‘Eh, I’m directing a musical theatre piece,’ which wasn’t my original plan. But with the singing, dancing, choreography—it’s exciting.” He describes the process as collaborative and fun, aiming for audience investment that extends beyond the theatre experience. “If, months later, someone eats rojak or laksa, steps into The Arts House, reads a murder mystery, or watches a food series and remembers the emotions and experience of this show, that’s the goal.”

Food plays a central role beyond just sustenance, with Chef Jeffrey Pua from Paradox Hotel creating both traditional and reimagined versions of each dish served during the show. “He even adjusted plating live during our food tastings. I was very touched. He didn’t need to do that, but he did. It showed how invested he and his team are. It’s their first time doing something like this.” The logistics are complex, involving multiple departments, but Danny embraces the unpredictability. “Some scenes depend on tight timing, but if something in the kitchen goes wrong, we adapt. Like the TV show The Bear, it makes you appreciate the chaos.”

Casting was approached with care, looking for suitability and openness in actors. He admires the versatility of the cast, including performers who cook and dance, and others who take on new challenges such as unpolished singing styles. The show’s ending is interactive, with different possible outcomes shaped by audience votes, emphasising the participatory nature of the experience.

Ultimately, Danny hopes Fried Rice Paradise will spark conversations about identity, cultural preservation, and the future of Singaporean food heritage. “When the audience votes on the dishes, they’re not just choosing a flavour—they’re deciding what future they want for our food culture. Do we preserve the old, or reimagine the new? That choice is symbolic. The audience helps decide the story, and that, to me, is what makes theatre meaningful.”

Fried Rice Paradise – The Makan Party runs from 12th August 2025 at Paradox Singapore Hotel. Tickets available here