Film: An Interview with director Anthony Chen on new film ‘We Are All Strangers’ and closing the final chapter of his Growing Up trilogy

Seven years ago, when Anthony Chen last sat down to speak about Wet Season as the opening film of the 2019 Singapore International Fim Festival, he was reflecting on a film about longing, restraint, and quiet emotional fractures, hallmarks of a filmmaker deeply attuned to the rhythms of everyday life. Today, the conversation feels both like a continuation and a turning point, with his latest … Continue reading Film: An Interview with director Anthony Chen on new film ‘We Are All Strangers’ and closing the final chapter of his Growing Up trilogy

Music Review: Shostakovich with Leonidas Kavakos & Hannu Lintu by Singapore Symphony Orchestra

Under Hannu Lintu, the Singapore Symphony Orchestra delivers a gripping, emotionally-charged Shostakovich marathon alongside violinist Leonidas Kavakos. There was something revealing in a remark shared in conversation with Hannu Lintu beforehand, where he stated that the soloist, above all, must remain central. It is a simple philosophy, but one that shaped the entire evening. What emerged was not just a display of orchestral discipline, but … Continue reading Music Review: Shostakovich with Leonidas Kavakos & Hannu Lintu by Singapore Symphony Orchestra

Concert Review: Traversing 《“樂”无界》by Ding Yi Music Company

Ding Yi opens their 2026/27 season with a bold, celebratory selection of works that shows off the chamber ensemble’s capabilities and global vision. Opening its 2026/27 season, Traversing by Ding Yi Music Company makes an ambitious artistic claim: that a Chinese chamber ensemble can be not only rooted in tradition, but also be expansive, borderless, and globally resonant. Under the direction of maestro Tsung Yeh, … Continue reading Concert Review: Traversing 《“樂”无界》by Ding Yi Music Company

Music: A new chapter for Singapore Symphony Orchestra’s 2026/27 season with Hannu Lintu as Music Director

The Singapore Symphony Orchestra’s 2026/27 season signals a turning point. With Finnish conductor Hannu Lintu stepping in as Quantedge Music Director, the orchestra enters what its leadership describes as a period of discovery, recalibration and ambition. For Lintu, the decision to come to Singapore was not incidental, but deeply tied to a moment of transition in his own career. These kinds of engagements depend on … Continue reading Music: A new chapter for Singapore Symphony Orchestra’s 2026/27 season with Hannu Lintu as Music Director

Pesta Raya 2026: An Interview with Maria Tri Sulistyani, founder of Papermoon Puppet Theatre, and playwright/director of ‘PUNO – Sewing Memories’

Twelve years ago, the story that would become PUNO: Sewing Memories began with a promise. Back in 2013, Papermoon Puppet Theatre was planning a collaboration with a close friend from the Philippines: puppetry artist Don Salubayba. “It was kind of like, wow, it’s amazing that we have so much in common, let’s do something together,” recalls director and playwright Maria Tri Sulistyani, also a co-founder … Continue reading Pesta Raya 2026: An Interview with Maria Tri Sulistyani, founder of Papermoon Puppet Theatre, and playwright/director of ‘PUNO – Sewing Memories’

Pesta Raya 2026: An Interview with Dr. Norzizi Zulkifli on adapting Macbeth for Randai and traditional arts in Malaysia

When Dr Norzizi speaks about randai, she does not describe it as an artefact or a genre. She describes the art form as something breathing, precarious, but alive. “Without ASWARA,” she says plainly of the National Academy of Arts, Cultural and Heritage of Malaysia, “randai is a dying traditional art form. It exists, but it is also not there. If you come to Kuala Lumpur … Continue reading Pesta Raya 2026: An Interview with Dr. Norzizi Zulkifli on adapting Macbeth for Randai and traditional arts in Malaysia

Pesta Raya 2026: An Interview with ‘La Luna’ director Mohd Fared Jainal, playwright Ridhwan Saidi, and star Munah Bagharib

In an age where the world often feels divided and overexposed to outrage, the most compelling theatre sometimes comes from stories that remind us what it means to live, work, and confront challenges together. This year’s La Luna, making its stage debut during Pesta Raya at Esplanade – Theatres on the Bay, does exactly that: it’s a feel-good comedy that also asks audiences to look … Continue reading Pesta Raya 2026: An Interview with ‘La Luna’ director Mohd Fared Jainal, playwright Ridhwan Saidi, and star Munah Bagharib

★★★★☆ Theatre Review: End of the World and Hard-Boiled Wonderland by HoriPro Inc.

A dream made tangible as Haruki Murakami’s surreal masterpiece comes vividly to life on stage. Fresh from its world premiere in Tokyo in January, End of the World and Hard-Boiled Wonderland arrives in Singapore with the weight of expectation. Beyond its sheer scale, adapting Haruki Murakami’s writing for the stage has always been a formidable undertaking. His novels are winding, introspective and often resistant to … Continue reading ★★★★☆ Theatre Review: End of the World and Hard-Boiled Wonderland by HoriPro Inc.

Preview: vOilah! France Singapore Festival 2026 returns with a feast for the senses celebrating French culture in Singapore

If you’ve ever dreamed of strolling through a Parisian market, losing yourself in a Louvre-worthy exhibition, or catching avant-garde theatre straight from Europe, and this season, you won’t need a plane ticket. From 25 April to 20 June, the annual vOilah! France Singapore Festival 2026 returns with its most expansive line-up yet, transforming Singapore into a vibrant playground of French culture, creativity and collaboration. vOilah! … Continue reading Preview: vOilah! France Singapore Festival 2026 returns with a feast for the senses celebrating French culture in Singapore

End of the World and Hard-Boiled Wonderland: An Interview with director/choreographer Philippe Decouflé on adapting Haruki Murakami for the stage

Few literary worlds are as slippery, introspective and visually elusive as those of Haruki Murakami—which makes the stage adaptation of Hard-Boiled Wonderland and the End of the World an especially intriguing proposition. Directed and choreographed by Philippe Decouflé, the production transforms Murakami’s dual narratives into a highly visual theatrical experience, where movement, colour and scenography take the place of interior monologue. Arriving in Singapore at … Continue reading End of the World and Hard-Boiled Wonderland: An Interview with director/choreographer Philippe Decouflé on adapting Haruki Murakami for the stage