God, That’s Good!: An Interview with Lea Salonga and Jett Pangan, Stars of Sweeney Todd – The Demon Barber of Fleet Street
Celebrating its 40th anniversary this year, it’s a wonder that the Stephen Sondheim musical thriller has never before been brought to Singapore. Thankfully, Atlantis Theatrical Entertainment Group and the Singapore […]
Toy Factory’s The Wright Stuff Festival 2019: The Puppet King (玩具王) by Titus Yim
★☆☆☆☆ (Attended 2/11/19, Matinee) Final production of The Wright Stuff 2019 meanders in its exploration of existentialism. While the characters of Pixar’s Toy Story have always dealt with inherent struggles surrounding ideas of […]
Review: Lie With Me by Intercultural Theatre Institute
★★☆☆☆ (Attended 7/11/19) Graduating show from latest batch of ITI students a modern exploration of human relationships, but is marred by actors getting lost in iffy chemistry and a dragged […]
Review: A Fiend’s Diary by The Finger Players
Powerful work that highlights the meaninglessness and absurdity in everyday living. How do we recover from a traumatic incident? For artist and theatremaker Oliver Chong, the answer was to take […]
Toy Factory’s The Wright Stuff Festival 2019: Random Access Memory by Mark Cheong (Review)
Techno thriller collides with family drama and spells the future of humanity. What are humans if not an organic computer? With Mark Cheong’s Random Access Memory, the age-old question of what it means […]
Preview: Lie With Me by Intercultural Theatre Institute
The latest batch of students from Intercultural Theatre Institute (ITI) is just about ready to graduate, but before they do, they’ll be presenting one last show, with the Asian premiere […]
Toy Factory’s The Wright Stuff Festival 2019: Ashes, Ashes by Rajkumar Thiagaras (Review)
Some things are better left fed to the flames. Two years ago, the Straits Times reported on the demolition of Lakshmi Villa, a generations old family home that had grown […]
Preview: A Fiend’s Diary by The Finger Players + An Interview with Oliver Chong
There are some people who have lost touch with society, or rather, no longer find meaning in life. They find their existence to be absurd. If that’s the case, is […]
Review: Dear Elena (青春禁忌游戏) by Nine Years Theatre
Worst birthday ever makes for one of the best shows of 2019. Growing up in Singapore, the hard and fast path to ‘success’ has always been made abundantly clear to […]
Review: Merdeka / 獨立 /சுதந்திரம் by W!ld Rice
Uncovering Singapore’s untold history we were never taught in school. ‘Merdeka’ is a Malay word that roughly translates to freedom or independence in English. To most Singaporeans, it’s also a […]
Toy Factory’s The Wright Stuff Festival 2019: Permanence by Gina Chew (Review)
A party girl’s fears of a life less romantic. Marriage is terrifying. There’s good reason why people love to joke that it’s like a ball and chain, clamped to you […]
Review: Emily of Emerald Hill by W!ld Rice
A stellar performance from Ivan Heng at W!ld Rice’s new home. In many ways, Stella Kon’s Emily of Emerald Hill should be considered one of W!ld Rice’s most signature productions. Each time […]
Nine Years Theatre’s Dear Elena: An Interview with Nelson Chia, Mia Chee and Timothy Wan
Near the start of 2019, local theatre company Nine Years Theatre (NYT) announced their new season, starting with FAUST/US in February, original play First Fleet in July, before rounding off with a […]
Preview: Toy Factory’s The Wright Stuff Festival 2019
If the Singapore theatre scene is to continue to grow, then it must lay the groundwork for the next generation of theatremakers to inherit it when the time comes. For […]
Review: Urinetown by Pangdemonium
Piss-perfect performance to round off Pangdemonium’s 2019 season. If Les Miserables was the musical that brought the romance to revolution, then Mark Hollmann and Greg Kotis’ Urinetown is almost certainly the one that […]
Review: A Clockwork Orange by Teater Ekamatra
Teater Ekamatra drags audiences into a dangerous dystopia where nothing and nobody can be trusted. Across the history of dystopian fiction, there is perhaps none quite as visceral and teetering […]
