Theatre

[Interview] Playwright Cherilyn Woo and Director Deonn Yang on Phinny & Wally: Echoes of Home

/ Isaac Tan / Leave a comment

When a dolphin and a whale first met onstage in Phinny & Wally, their friendship charmed young audiences and adults alike. Staged in Mandarin by Nine Years Theatre, playwright Cherilyn Woo and Nine Years Theatre bring the duo back as they explore friendship, courage, and emotional growth in a standalone sequel, Phinny & Wally: Echoes of Home.

Playwright Cherilyn Woo and director Deonn Yang shares more about the show over an e-mail interview.

Synopsis
Dive back into an underwater adventure with Phinny and Wally!

When Phinny, a gentle dolphin, and Wally, an enthusiastic whale, meet Arlo, a young bowhead whale lost in the vast Arctic Sea, they set out to help in the search for Arlo’s family. Together, they brave shifting ice, passing ships, and uncharted waters—facing danger with heart and hope.

Along the way, they learn about courage, friendship, and discover that home is more than just a place. It’s the sounds, the safety, and the love we carry with us.

Phinny & Wally: Echoes of Home is a heartwarming tale that inspires young hearts to care for the ocean—a place full of life, love, and stories worth protecting.

L-R: Cheryl Ho (Phinny), Vester Ng (Arlo), and Jodi Chan (Wally) in rehearsal for Phinny & Wally: Echoes of Home /
Courtesy of Nine Years Theatre

What made you choose sea creatures as the main characters?

Cherilyn Woo: I love the ocean. It brings me a deep sense of peace and joy whenever I’m near it. As I look out at the water, I often wonder about the stories it holds—the ones we rarely hear. That curiosity led me to think more deeply about the mammals that live within it.

The Arctic Ocean, in particular, feels distant and mysterious. It’s remote, and because of its harsh conditions, there’s been less research and fewer stories told about it. I wanted to find a way to feel more connected to that part of the world—and to help others feel connected too. The Arctic Ocean is warming much faster than the rest of the planet and changing in ways we don’t fully understand.

Through storytelling, I hope to shine a light on the hidden lives in the ocean and inspire more curiosity and care for what’s happening there—before it changes beyond recognition.

What inspired you to write a sequel to the original Phinny and Wally production that was staged in 2024?

Cherilyn Woo: Phinny & Wally started out as an idea for a book. As I was making the production last year, I realised how these two characters could help spread awareness for ocean conservation through storytelling. I felt that through stories, we can form a much deeper connection to the environment and the world. It was such a treat to see the young audiences and their adult companions come in and connect in a way that felt really honest and personal. So I was motivated to create a sequel to it. I felt that there were more stories we could tell to bring attention to the oceans and the challenges faced by the ones living in them.

What were some of the interesting insights that you got from the first production and how has that inspired your approach to this sequel?

Cherilyn Woo: One of the most striking moments during the first production was seeing how deeply young audiences connected with the story. When Phinny’s home was threatened by an oil spill, some children instinctively turned to their adults or looked away from the stage—not because they disengaged, but because they were feeling the weight of the moment. And yet, they stayed. They listened. And when the time came to help Phinny, they responded with overwhelming enthusiasm.

It reminded me that children are incredibly brave and emotionally intuitive. They’re ready to engage with big ideas—as long as the storytelling invites them in with care. That experience shaped how I approached the sequel. I realised I could go deeper—not only emotionally, but also in developing the characters’ personalities and their relationships.

As an artist, I’m always thinking about how stories can speak across generations. In this sequel, I wanted to craft something that resonates with both children and the grown-ups beside them—something that sparks conversation, reflection, and a sense of shared wonder.

This story touches on emotional ideas like home, courage, and connection. How do you find the right tone that would resonate with both children and adults?

Cherilyn Woo: I have two nephews and I enjoy spending time with them. In our time together, I’ve learnt that once they understand what is going on, the depth of their emotions are at times a lot deeper and complex than adults. That was when I realised that if I’m feeling something, they are feeling it too, and probably in a richer way.

Somewhere along adulthood, I think our emotions get sort of buried and we don’t feel as deeply as we should, so when we see the world through children’s eyes, it’s a whole new different experience.

I don’t know if I’ve found the “right” tone. I’m not sure that there is one. But I know that as long as I try my best to be emotionally real, no matter the age, I lean into the trust that it will resonate. And if it doesn’t, that’s okay too, it’s an opportunity to dig deeper for the emotional truth.

Courtesy of Nine Years Theatre

While you’ve previously directed productions for young audiences, this marks your first time directing a children’s piece completely in Mandarin. What unique considerations or challenges did you encounter in working with the Mandarin language?

I think and function in English most of the time, and as a result, I think I do take my ability to comprehend and communicate for granted. I love the richness of Mandarin, and I do get a bit sad when I can’t fully capture or appreciate the nuance of the language.

However, I am not totally unfamiliar with directing a mandarin show because my own show White, All White (presented by The Necessary Stage last year) was written in a mix of English and Mandarin but similarly, I directed predominantly in English.

With Phinny & Wally: Echoes of Home, the environment at Nine Years Theatre has been nothing short of supportive and collaborative. They have never made me feel insecure about directing a Mandarin show for young audiences in English, and if anything, this experience has made me more mindful about the delivery and clarity of the text for comprehension. Full disclosure: My command of the Chinese language is not terrible, but it’s also far from the best! So this unique position offers me the opportunity to make sure we really focus on communicating the thoughts and the story to our audience members, and if anything feels too challenging or unclear to me it then becomes a sign for me to focus more on clarifying this moment for our young audience.

There’s an interactive element where children become coral in the show. How did you approach rehearsals with the cast to ensure that the interaction feels intuitive and enriching?

During the pre-show segment, audiences are introduced to the play, and there they already take on the role of corals, as they learn that they are an important part of our ecosystem. The beauty of theatre is the suspension of disbelief. I am fortunate to work with actors who are very experienced with making theatre for young audiences, so once the context was set, the way they approached the scene and work was also very intuitive. I would say that it was largely a very collaborative process, where we would actively help make the scenes and interactions better.

Has there been any interesting discoveries in the rehearsal process?

Rehearsal rooms are always very fun to be in, and for me, no two rooms are the same. I wouldn’t say that there are specific discoveries, but I think have learnt more about marine life in these few weeks than I have in my entire life! And it really reminds me that we share this world with everything and everyone, and we really have a responsibility to love and care for our world.

Courtesy of Nine Years Theatre

Catch It!

Phinny & Wally: Echoes of Home runs from 22 to 31 August 2025 at Drama Centre Black Box.

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[Theatre Review] No Man’s Land by The Necessary Stage: Soapbox Contestations

/ Isaac Tan / Leave a comment

Dissecting masculinity / Photo: Tuckys Photography / Courtesy of The Necessary Stage

No Man’s Land
The Necessary Stage
12 June 2025
Esplanade Studio Theatre
12–15 June 2025

In the programme notes, playwright Danial Martin tells us that “No Man’s Land is not an answer; it is a confrontation” about different ideas about masculinity and how that plays out in society. This is wonderfully realised in the opening physical sequence where five performers enter a circle in grey singlets as they confront each other mano a mano to Ng Jing’s primal, guttural soundscape.

Unfortunately, unlike the flexed muscles and tensed sinews in the movement sequence, the dramaturgy and writing could have grappled with the complexities of masculinity a little more. 

Co-directed by Sim Yan Ying and Alvin Tan, with Lim Shien Hein as dramaturg, this interdisciplinary devised piece has several vignettes peppered amidst the physical sequences. 

Flexed muscles and tensed sinews of Shahizman Sulaiman (left), Michael Tan (centre), and Neo Hai Bin (right) /
Photo: Tuckys Photography / Courtesy of The Necessary Stage

Initially, these vignettes seem to comprise actors playing stock characters, highlighting the broad issues of masculinity:  body image, dealing with infidelity,  parental expectations, responsibilities to a woman and child born out of wedlock, sharing intimate photos and videos of women without their consent, kinks, etc.

Imagine my surprise when it later becomes clear that the characters are not one-off, but are related to each other. We do not see them struggling with the implications of their circumstances as things seem to happen to them. Although the characters are not meant to have a naturalistic character arc, the lack of struggle then leaves us with merely examples of men behaving badly. This forgoes the opportunity to invite for us to understand what led them to behave this way.

Men behaving badly / Photo: Tuckys Photography / Courtesy of The Necessary Stage

Another device meant to get the audience to confront ideas about masculinity is the metatheatrical moments when the actors comment on the play in two instances. In the “intermission”, which is specifically stated to be slightly over seven minutes, Shahizman Sulaiman explains—or, as the modern lingo would have it, mansplain—the first half of the show to “align” the audience with the artistic intention, thereby resisting alternative interpretations of the show. Some might feel that this parallels the patriarchal narratives of one’s lived experiences.

The other instance is when Suhaili Safari complains that she is the only woman in the cast who not only offers the token female perspective, but also takes on many roles in which she  either does the physical or emotional labour in service to men. Neo Hai Bin then laments that he wishes that he lived in a society where this is not so. While it is undeniable that this parallels the experiences of women worldwide, it does not go beyond a complaint. 

The lesbian sister (Suhali Safari) and her gay brother (Vishnucharan Naidu) deciding if she should return to Singapore /
Photo: Tuckys Photography / Courtesy of The Necessary Stage

In the same scene, Vishnucharan Naidu also apologises to Suhaili saying that his character (a gay man who plays the role of the dutiful son despite his mother not recognising his sexual orientation) has made used of her character (sister who is lesbian who left for Korea because she wants to live life on her own terms) to rediscover himself.  This presumes that the self is formed and evolved on one’s own, almost in a vacuum, when we often discover parts of ourselves when encountering a particular situation or interacting with others.

Thus, there is a stronger sense of wondering aloud, rather than a clash of ideas, perspectives, and trade-offs in the show. 

The Empress Dominatrix (Suhaili Safari) controls her Eunuch Client (Neo Hai Bin) /
Photo: Tuckys Photography / Courtesy of The Necessary Stage

That said, there is much to commend the show for. 

In the movement sequences, Hafeez Hassan blends various traditions (bharatanatyam, martial arts, wrestling, hip hop, contemporary, etc.) to come up with a cohesive vocabulary for his choreography. Even though there are some performers who are not movement trained, they appear as a synergised ensemble and everyone actively participates in the movement sequences.

The text by Danial Martin may be simple, but there are occasions when it hits one right in the gut. In a scene where an unnamed victim of an explicit Telegram channel (Suhali Safari) delivers a monologue, she mentions that while not all men would indulge in something so sordid, but with 44,000 pairs of eyes on her, it feels like it could be so. In one line, Danial slices through the polarities, and elicits sympathy for the trauma that many girls have experienced. 

The way creative captioner Su Paing Tun designs the text to pulse, fade, and appear with accompanying graphics is truly creative and an art on its own. 

Michael Tan (centre) tenderly reflects on his journey as a man in a letter to his younger self /
Photo: Tuckys Photography / Courtesy of The Necessary Stage

Michael Tan has a certain tenderness in the delivery of two monologues about looking back at his life as a man and discovering self-pleasure at 15. He considers that to be quite young, even though the younger generation will consider it to be quite late; a missed opportunity to explore conceptions of masculinity according to different generations. 

Suhaili Safari’s versatility is a treat to behold as she plays characters of varying ages, backgrounds, and a rousing number about men to the tune of “Diamonds are a Girl’s Best Friend”.

Shahizman Sulaiman (left) and Neo Hai Bin (right), teach Vishnucharan Naidu (middle) how to behave like a man /
Photo: Tuckys Photography / Courtesy of The Necessary Stage

Shahizman Sulaiman and Neo Hai Bin sparkle as fairies teaching Vishnucharan Naidu how to behave as a man. It is refreshing to see Neo in a camp role, but there is also depth to his performance in a silent scene with his father where he cycles the whole gamut of emotions before breaking down. 

Shahizman also displays a wonderful physical deftness in the various physical sequences, while Vishnucharan has a subtlety that opens up to tenderness in the scene when he asks his sister to return to Singapore after their parents have died. 

While the show could have prod us further to consider the complexities of masculinity, it still exposes us to the possibilities of interdisciplinary performance in examining important issues.

Further Reading

Programme booklet for No Man’s Land

Other Reviews

“Theatre review: Theatrical and funny, No Man’s Land questions ideas of manhood” by Clement Yong, The Straits Times Life! (Article is behind a paywall)  | Transcript of review

“【艺评】《无人之境》的意义在第四堵墙裂缝之处” by 孙靖斐, Lianhe Zaobao

“Review: Suria on No Man’s Land by Sim Yan Ying “YY”, Alvin Tan & Danial Matin (The Necessary Stage)” by Suria, Critic’s Circle Blog

“Review: Cheng Nien Yuan on No Man’s Land by Sim Yan Ying “YY”, Alvin Tan & Danial Matin (The Necessary Stage)” by Cheng Nien Yuan, Critic’s Circle Blog

“No Man’s Land: Siapa ajar lelaki jadi begini?” by Pengkritik Sandiwara

“No Man’s Land” by Naeem Kapadia, Crystalwords

“Review: Review: No Man’s Land (The Necessary Stage)” by Aileen Tang, The Flying Inkpot

“[Theatre Review] The Necessary Stage’s “No Man’s Land” Takes on Modern Masculinity, Perfect Watch for Lonely Male Dudes This Father’s Day Weekend” by Alvin Lim, Alvinology

[Interview] Nelson Chia and Mia Chee on Waiting for Audience by Nine Years Theatre

/ Isaac Tan / 2 Comments

Photo: Moonrise Studio / Courtesy of Arts House Limited

Waiting for Audience was first presented as a work-in-progress as part of the Singapore International Festival of Arts (SIFA) 2024 Tomorrow and tomorrow incubation programme. It returns this year as a full-fledged production as part of the lineup for SIFA 2025.

Nelson Chia (cast, playwright, and director) and Mia Chee (cast and producer) reveal more about the show over an e-mail interview.

Synopsis
An old theatre reaches its last performance night.
Two actors—A and O—find themselves sharing the stage. 
They bicker,
they compete,
they create,
they wonder,
and they
wait…
and wait,
and wait.
“We exist because they exist.”
“Every play has a beginning / And an end / Life is the same.”

But will the audience ever come?

Playful yet meaningful, Waiting for Audience challenges us to rethink the bond between performers and spectators, drawing inspiration from physical theatre, clowning, absurdist humour and Chinese crosstalk. 

Waiting for Audience invites us to step into the story and play a key role in completing a unique theatre experience, to join in the celebration of the power of live performance to connect what is on and off stage. Don’t miss this bold creation by Nine Years Theatre founders Nelson Chia and Mia Chee. 

What inspired you to create the work?

Nelson & Mia: Nine Years Theatre is known for its emphasis on the actors’ craft. At the same time, we focus a lot on the audiences’ experience. As such, we came up with an idea to create a work that was somewhat a “love letter” to the audience. Waiting For Audience turned out to be that fun and curious way of saying to our audiences, “You are the one that completes our work.”

What made you decide to test your ideas through SIFA’s Tomorrow and tomorrow initiative in 2024?

Nelson & Mia: After several rounds of discussion with SIFA’s Festival Director, Natalie Hennedige, we realised Tomorrow and Tomorrow was an invitation for the audience to come create this work with us — precisely what Waiting For Audience was about, and a quite perfect platform for our idea.

Photo: Moonrise Studio / Courtesy of Arts House Limited

Were there any unexpected discoveries or insights from the audience feedback in 2024? 

Nelson & Mia: We wouldn’t say they were unexpected, but we were really heartened to learn from the feedback that audiences found the work creative, humorous, and moving. More importantly, we were told by those who watched it that they felt that they were at the centre of the play—exactly how we liked it to be.

Now that the work is a full-fledged production in SIFA’s 2025 season, how has the work evolved since? 

Nelson & Mia: The latest version at SIFA 2025 is quite a new version in the sense that it is about 50% different from the previous one. There are new scenes being added, sequences become more complex, and the space is more exciting with designers Emanorwatty Saleh and Ng Jing coming onboard to design the scenography and sound respectively. I feel the work has grown in terms of its characters emotions and the theme’s dimension.

Catch It!

Waiting for Audience by Nine Years Theatre runs from 30 to 31 May 2025 at SOTA Drama Theatre.

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[Interview] Drama Box’s artists shed light on “hello, is this working?”, part of SIFA 2025

/ Isaac Tan / 1 Comment

First presented as a work-in-progress as part of Singapore International Festival of Arts 2024’s Tomorrow and tomorrow incubation programme, hello, is this working by Drama Box returns to SIFA as a fully-fledged production.

Artists Chng Xin Xuan, Han Xuemei, and Lynette Quek shed light about the production and how it has evolved since it was first presented last year.

Synopsis
If work is a big part of our lives, who would we be without our work? How are different jobs valued? Step into a world where we’ve collectively lost our memories about the work we used to do.

Through a mix of accounts by people of various professions and speculations of a post-AI future, hello, is this working? by Drama Box is a participatory experience that invites us to reexamine our relationship with work now, and to reimagine work in the future.

Times may change, but work, and workers are here to stay. Are you ready, Worker 5.0? The future is calling.

What inspired you to create the work?

Xuemei: Growing up in Singapore, many of us were likely instilled with the idea of “study hard and then get a good job”, to the point it almost felt like life ended with getting a job. I wanted to question this perceived indispensability of work — specifically, working for a living.

There were many questions I was curious about. Why do we work the way we do? Why do we value certain types of work more than others? How did our collective values about work evolve over time, and what needs to change in the future? These are also questions the world is grappling with, as seen in the rise of conversations and social movements such as “lying flat” (躺平 tǎng píng) and “quiet quitting”, especially with the COVID-19 pandemic and the rapid development of artificial intelligence. The time felt right for us to explore these questions more deeply through the arts.

Xin Xuan: I believe I have similar questions and thoughts about work, as shared by Xuemei. For myself, in particular, I recognise my privilege, being able to work as a freelance artist, away from the drudgery of repetition and routine. My work brings me to many like-minded people who share similar lifestyles and beliefs, though sometimes I have this inkling that I’m in an echo chamber. Working alongside Xuemei and Lynette on this project has allowed me to satisfy my curiosity about the work of my fellow Singaporeans who are not in the arts industry, and also presents me with an opportunity to learn more about others. Much of the inspiration comes from them and from the interactions that we have. 

Lynette: I guess I was really curious about why people around me are often complaining about their work, how mundane their working days are, how they spend their weekends asleep in bed — it is almost as if they live just to do something that they don’t enjoy. I was really curious on how people stay on so long at a job, what were the little treats in their day, and what they think they would have been doing if not. 

Photo: Moonrise Studio / Courtesy of Arts House Limited

What made you decide to test your ideas through SIFA’s Tomorrow and tomorrow initiative in 2024?

    Xuemei: Because the subject of “work” is vast and complex, I had been hesitant to start. When the invitation came from SIFA’s Tomorrow and tomorrow, I felt it was the right time and space to plunge in, explore and experiment to figure out where these ideas could go. This opportunity also allowed me to involve other collaborators, and this was how Lynette and Xin Xuan came on board.

    Were there any unexpected discoveries or insights from the audience feedback in 2024?

      Xuemei: We were really thankful to the audience for the variety and depth of feedback last year. The feedback ranged from sharing their resonance with the work to pointing out areas that were not explored. One particular sharing that I was surprised by was how our perception of work is shaped by social and cultural institutions and, over time, the roles that these institutions play in our lives become very invisible and unchallenged. The example raised in this case was that of the National Library, wherein the library actually has, amongst its many functions, the function of developing “good workers”.

      Xin Xuan: Too many to list! I would say that the dialogue that we had after our showings, during the post show talk, was a great space for us to exchange ideas and thoughts about work. And that to me was the most beautiful bit actually.

      Lynette: A friend who came to watch the show said she would quit their job immediately! (She hasn’t left.) I find this contrast intriguing as it also states a bigger problem of pressure, sustainability, unease, etc. I appreciated the openness of the audiences and hopefully this piece allowed them to be a little bit more daring with their choices in their line of work. 

      Photo: Moonrise Studio / Courtesy of Arts House Limited

      Now that the work is a full-fledged production in SIFA’s 2025 season, how has the work evolved since? 

        All: The most visible evolution would be the form the work takes. Last year, it was presented as an intimate performance – one actor to 40 audience – in a room. This year, the physical environment for the work is completely different. We were invited to create our work taking into consideration Ruobing’s installation at Bedok Town Square, which is an open public space. To consider how different audiences can access and experience the work, we have created two types of experiences – between 10am and 4pm, public can freely enter and explore the work in the form of an installation, then at 5pm and 7pm, there will be a 45-minute audio-based participatory experience, where the audience follows a narrative journey set in the year 2056.

        The development of a narrative journey is also something that deviates from last year’s work-in-progress. Last year’s exploration had a more modular structure, where each scene or segment played with different ideas and could have no obvious connection to each other. 

        This year, we also chose to develop the character of the work fairy which appeared in one segment last year, as well as explore more with speculative imaginations of the future of work.

        Essentially, “hello, is this working?” is both a philosophical question on what defines work and a speculative reflection on what is functioning and what is broken in our society. How do we make things work, and how do we repair what isn’t working?

        Catch It!

        hello, is this working by Drama Box runs from 23 to 25 May 2025 at Bedok Town Square.

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        [Interview] SIFA Festival Director Natalie Hennedige on Tomorrow and Tomorrow Incubator Programme

        / Isaac Tan / 2 Comments

        Natalie Hennedige, SIFA’s Festival Director / Courtesy of Arts House Limited

        Launched in 2024, Tomorrow and tomorrow is an incubation programme by the Singapore International Festival of the Arts (SIFA) in which theatre groups can present their works-in-progress to an audience.

        To find out more about the incubation programme and how some of the works in that programme have developed since, I caught up with Festival Director Natalie Hennedige.

        What was your vision for SIFA’s Tomorrow and tomorrow incubator programme when it was introduced in 2024?

        Tomorrow and tomorrow was conceived as a platform to enable fertile artistic ground to flourish with works receiving a process showing at the Festival.  Stamford Arts Centre was transformed into a sandbox of works-in-process, opening up vistas for future presentations and unearthing Singapore’s fertile ground for contemporary theatre-making.

        Ten local theatre groups were invited during the 2024 edition to bring their processes and working methodologies to the fore before audiences who would witness nascent ideas at play. Tomorrow and tomorrow became a platform not only for exploratory ideas, but also for showcasing the dynamic voices shaping Singapore’s theatre landscape, reflecting SIFA’s commitment to nurturing and celebrating local artistic process and innovation.

        What is unique about Tomorrow and tomorrow, as compared to other incubator initiatives?

        What sets Tomorow and tomorrow apart was the opportunity for audiences to experience a showcase of diverse, in-progress works by ten established local theatre groups, presented together on a single platform. That apart, Stamford Arts Centre became a larger canvas with visual artists commissioned to install works specific to the physical qualities of the center. We also had musicians in nooks and crannies charging the building with experimental sound. 

        Crucially, Tomorrow and tomorrow shows also eschewed a price tag—creating a space that was open and accessible to all who sought deeper, more unexpected connections. It encouraged engagement through observation, interaction, and conversation, free from the commercial expectations that often frame artistic encounters. At its core, the initiative was about witnessing the genesis of ideas and being part of a living, evolving tapestry of Singaporean theatre and expression.

        Waiting For Audience by Nine Years Theatre and hello, is this working? by Drama Box were part of the 2024 incubator programme, and they are being presented as full-fledged productions in SIFA 2025. Why were these two works selected?

        Waiting For Audience captures the inextricable link between the theatre and its audience, reflecting too an artform as old as time and how its vitality endures. This resonates with SIFA 2025’s MORE THAN EVER frame, which encompasses why more than ever the arts matters.

        hello, is this working? returns under very different conditions; the first iteration of the work occurred in one of Stamford Arts Centre’s rooms. In 2025, it takes place at the SIFA Pavilion at Bedok Town Square in response to the context of the space which includes the neighbourhood bustle and a colossal installation stage doubling as a stage by visual artist Wang Ruobing. All these contribute to an extremely evolved version. It will be exciting to have witnessed the evolution of these works or to encounter them as a first. 

        Looking back on your tenure as SIFA’s festival director and your artistic career, what does Singapore’s arts ecosystem need more of to foster a vibrant arts scene?

        An international festival plays a critical role in shaping Singapore’s arts landscape. It serves as a nexus for experimentation, exchange, and discourse—bringing artists and audiences together to engage meaningfully through the arts.

        Beyond fostering artistic dialogue, a festival like SIFA amplifies the visibility of homegrown talent, situating local artists within a global context and creating opportunities for collaboration that drive both artistic and professional growth. It also deepens public engagement by presenting multifaceted perspectives, encouraging audiences to encounter and interpret works through a critical lens.

        Singapore’s arts ecosystem benefits from such efforts that connect artists across borders and support long-term artistic development. As a small but vibrant nation, we are constantly negotiating between the local and the global. SIFA mirrors this dual gaze, fostering regional and international collaborations that open pathways for new creations and deeper artistic inquiry.

        In varied ways, Singapore artists have made their presence felt on the international performing arts stage. Take Ramesh Meyyappan, for instance—a Glasgow-based Singaporean theatremaker who creates prolifically in the UK and helms LEAR, a reimagining of Shakespeare’s King Lear for SIFA 2025. Though based abroad, Meyyappan remains deeply connected to the arts scene here.

        In commissioning LEAR, the Festival not only brings a bold new work to local audiences, but also showcases the vibrancy and reach of Singapore’s arts ecosystem—one that nurtures talent with international resonance. The production is set to travel to Traverse Theatre in Edinburgh and Aberdeen following its premiere at SIFA, further extending the reach of Singaporean artistry to global audiences.

        The Singapore International Festival of Arts runs from 16 May to 1 June 2025.

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        [Interview] Director Hossan Leong on ‘A French Kiss in Singapore’

        / Isaac Tan / Leave a comment


        To celebrate 60 years of diplomatic relations between France and Singapore, Sing’Theatre is bringing back A French Kiss in Singapore, a revue of French songs created by George Chan in 2013.

        I caught up with director Hossan Leong, who also performed in the original production, to find out more about the show.

        Synopsis
        A French Kiss in Singapore returns to dazzle audiences with an unforgettable musical experience. This reimagined musical celebrates the artistry of four of France’s most beloved contemporary songwriters and performers—Charles Aznavour, Serge Gainsbourg, Jacques Brel, and Charles Trenet. Their timeless classics, immortalised by legends like Frank Sinatra, Liza Minnelli, and David Bowie, will transport you on a journey through love’s many twists and turns.

        Expect an emotional rollercoaster like no other—a blend of laughter, tears, daring sensuality, and thought-provoking moments. This show will entertain, inspire, and leave you humming these iconic tunes long after the curtain falls.

        Having performed in 2013 production, what is your artistic vision for this revival?

        These four French singer-songwriters tell stories about love, love in all forms; be it for another person, a drink, a lifestyle or even nature. I want the lyrics to come through and touch the audience. Each segment will be portrayed differently—with humour, passion, sadness, hope and longing.

        Were there any interesting discoveries during the rehearsal process? Has rehearsing the show with a new cast made you see these iconic French songs in a new light?

        I have an amazing cast, a brilliant creative team, and an incredible stage management team. Putting this show together has been nothing but laughter, understanding of the poetry, of the meanings, rediscovering how cleverly these songs were put together.

        As you are actively involved in the cultural scenes of France and Singapore, what is best aspect about the culture of each country?

        I try as much as I can to be part of the Franco-Singaporean cultural scene. Both cultures are so different yet I find the similarities very close to home: love for food, the complaining, usage of slang and word play.

        For those who are not familiar with revues and the French songs, how would you describe the show in five words?

        Fun, Touching, Educational, Entertaining, and Uplifting.

        Catch It!


        A French Kiss in Singapore runs from 17 to 27 April 2025 at the SOTA Drama Theatre.

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        [Interview] Myle Yan Tay on his latest play, “Statement Piece”

        / Isaac Tan / Leave a comment

        Playwright Myle Yan Tay (seated left) with director Claire Wong (seated right) and the cast (standing L-R): Tricia Tan, Rusydina Afiqah, and Huzir Sulaiman (also the dramaturg). / Courtesy of Checkpoint Theatre

        After the the success of Brown Boys Don’t Tell Jokes (2023) in which playwright Myle Yan Tay looks at male friendships, race, and politics, he is back with a new play, which focuses on the purpose of art in Statement Piece.

        I caught up with him to find out more about the play, which kicks off Checkpoint Theatre’s 2025 season.

        Synopsis
        Two weeks after a loss that reverberates through the nation, a young gallerist prepares for her first exhibition. Lily has endured constant pressure from her formidable boss, spent countless hours on research, revved up the public for a buzzworthy show – everything for the perfect opening that will cement her name in the art world. The months of suffering are about to pay off at last.

        But when the final painting arrives, hand-delivered by the reclusive Gopal Rangaraj himself, she is horrified. With the entire exhibition—and her fledgling career—on the line, even the surprise visit from her artist girlfriend Marjia can’t cushion the gravity of the situation.

        As three different worldviews collide, how much should be sacrificed in the name of Art?

        What inspired you to write Statement Piece?

        While studying in Chicago, I was spending a lot of time with American artists and having conversations about freedom of speech, the ethics of representation, and the peculiar challenges of being an artist in our era. I’d share Singapore idiosyncrasies with my peers about art-making, which led to me thinking deeper about how Singapore’s art world works and its relationship with our existing systems. These ideas eventually took root and led to Statement Piece.

        As your main artistic practice is the the literary arts, what made you choose the visual arts as the main context of the plot?

        I write prose and plays, review movies, and host a podcast about comic books—medium is always on my mind. What does one medium do that another can’t? Plays don’t have page-turns, comic books don’t have line breaks, and the central painting in Statement Piece has no dialogue.

        Art is only finished when it’s viewed by its audience, but the way an audience finishes the work varies greatly depending on the media. I wanted to put interpretation front and centre in this script, to ask questions about what it means to look at a work, what we are doing when we try to “understand” art. We’re always trying to finish the work we’re looking at, whether it’s subconscious or not. Bringing the painting into the theatre is my way of making that process explicit.

        What is the biggest challenge in writing this play?

        The biggest challenge of writing this play was probably its relationship to the art world. I want it to feel authentic but I also don’t want to be bogged down by the details. I want the script to be accessible and open, so anyone can approach its ideas without feeling boxed out. The Checkpoint Theatre development process has been integral to finding this balance.

        The cast rehearsing Statement Piece. / Courtesy of Checkpoint Theatre

        Were there any interesting discoveries seeing your characters come to life in rehearsals?

        It’s not quite a discovery but it really is always such a joy to watch this world you built come to life. The joy of playwriting is that you get to hand it off to other people, and when those people are as talented, thoughtful, and generous as Claire Wong, Huzir Sulaiman, Tricia Tan, Rusydina Afiqah, and all the other incredible people in the art, set, lighting, sound, costume, and make-up team, you’re very very lucky.

        What is the most pressing issue or question that Singaporean artists should think about?

        I don’t think I can prescribe a single issue to every Singaporean artist. If anything, the question every Singaporean artist should be asking themselves is, “what do I want from my work?” Because that’s really the only thing you can control.

        Do you want to create societal change? Do you want to provide emotional catharsis? Do you want to make people laugh? All of these are valid questions and should be guiding how we make our work. It really depends on what is personally most important to them, which is actually one of the central questions of Statement Piece.

        Catch It!

        Statement Piece runs from 3 to 13 April 2025 at the Drama Centre Black Box.

        Tickets
        More Information

        [Theatre Review] Hard Mode by Checkpoint Theatre: Heartfelt Mission with Too Many Side Quests

        / Isaac Tan / Leave a comment

        L-R: Arissa (Janine Ng), Adam (Chaney Chia), Maya (Kyra Lefebvre) / Photo: Joseph Nair / Courtesy of Checkpoint Theatre

        Hard Mode
        Checkpoint Theatre
        24 October 2024
        SOTA Drama Theatre
        18-26 October 2024

        In Faith Ng’s Hard Mode, we are drawn into a world of BTS, Discord, TikTok dances, and buying multiple copies of the same album just to have all the variations of the album’s cover art. 

        But it is also a world of neglect, self-harm, uncertainty, and unhealthy relationships. 

        In primary school, shy Adam formed an unlikely friendship with the clownish Rian, and nerdy XY, as they call themselves the Sengkang Gang and go on all sorts of adventures. Adjacent to the boys are Arissa (Adam’s older sister) and Maya (Arissa’s best friend and Adam’s love interest).   

        As the quintet goes into their teens, the academic and societal pressures become more acute, while they also have to navigate diverging paths, emotional baggage from their parents, and school politics. 

        Ng’s meticulous year-long research into the struggles of local teenagers is evident as she carefully weaves many of them into her characters’ lives. Unfortunately, her tapestry is so large that most of the struggles are presented as highlights; quick mentions or hints in some monologues.

        But Ng’s ambition does not stop there. She added a metatheatrical element in which characters are occasionally aware they are in a play to resist the sense of inevitability that realism brings. 

        Additionally, the timeline of the play toggles between different points in the future and the present. This is indicated by a crew member walking across the stage with a sign showing the year, which adds an unnecessary cognitive load to the audience; we have to do the mental arithmetic to figure the age of the characters and reorientate ourselves. 

        Perhaps, these additions are Ng’s way to reassure her largely adolescent audience that they are going to survive their teenage years somehow. But with a run time of 135 minutes, Hard Mode has simply too many side quests. 

        Photo: Joseph Nair / Courtesy of Checkpoint Theatre

        Yet, it must be noted that, for a generation that is often derided for their miniscule attention spans, the teenagers were engaged throughout the show. 

        It may be easy to put that down to BTS’s discography that signals scene changes or Ng having Gen Alpha’s lingo down pat, which send the teenagers grooving or chortling in their seats.

        But it would be remiss of me not to point out director Claire Wong’s ability to build a tight-knit ensemble out of the cast: Chaney Chia (Adam), Izzul Irfan (Rian), Janine Ng (Arissa), Kyra Lefebvre (Maya), and Matthias Teh (XY). A strong chemistry is evident across all cast members as they effortlessly pick up on each other’s cues, and keep the energy going. 

        Kudos should go to the cast for their subtleties in their physicality as they shift from being unsure and slightly jittery to being more self-assured in their 20s. That said, the choice to speak in a higher pitch to portray youth sometimes limits the dexterity of their vocal timbre, which hampers the impact of certain emotional moments.

        During the particular performance I attended, sign language interpreters Azzam and Fang Shawn share the stage with the cast. They are not merely relegated to the sides, but are placed close enough to the action, but not obstructing the characters. The inclusion of the interpreters are thoughtful and not a tokenistic gesture. 

        The expressiveness of the interpreters adds an interesting alternative to what is going on stage, and I found myself referring to them at a particularly emotional or tense scene just as a comparison. 

        This makes me wonder how do d/Deaf audience members experience the show as it is difficult to watch both the interpreters and actors at the same time. 

        Sengkang Squad: Rian (Izzul Irfan), Adam (Chaney Chia), XY (Matthias Teh) / Photo: Joseph Nair / Courtesy of Checkpoint Theatre

        The costume choices by Max Tan and hairstyling by Leong adeptly aid in changing the looks of the characters at different ages. 

        For example, Rian morphs from the graphic t-shirt and circular, almost bowl-shaped hairstyle (achieved through a partial wig) of his jocular youth to the plain short-sleeved shirt and a crisp side parting of his corporate adult life. How the change is achieved, especially the hairstyle, in such a short time is no mean feat. 

        Set and lighting design by Petrina Dawn Tan, in collaboration with lighting co-designer Tan Zi Feng, creates the feel of a K-pop music video. 

        The set comprises three rolling L-shaped platforms in pastel colours that make up the dining, living room, and bedroom of the house that Adam and Arissa live in. There are light strips that run across walls of the platforms that form what looks like a sunrise or sunset. In certain scene changes, the light strips light up gradually, as if ushering in the entrance of a singer in a pop concert. There are also laser-light effects that demarcate the stage for scenes in other settings. 

        The juxtaposition of the whimsical set and laser-like effects against the struggles of the teenagers places the latter in a liminal space—there is tension between the demands of reality and the comfort of K-pop fandom, make-believe, and dreams. 

        Seeing the teenagers in the theatre taking countless selfies and hand swiping to APT. by Rosé and Bruno Mars, it is easy to dismiss them as disruptive and irrational.

        But be it going to BTS’s Magic Shop or retreating to nostalgic reverie; a quest to the boss level or life’s odyssey—perhaps it is about embracing these polarities and truly listening to each other so that life need not be on hard mode all the time.  

        Further Reading

        Programme booklet for Hard Mode

        “Checkpoint Theatre’s Hard Mode takes Gen Zers and Gen Alphas on their own terms” by Clement Yong, The Straits Times Life!

        Other Reviews

        “Theatre review: Hard Mode gives youth and its obsessions full, unprejudiced treatment” by Clement Yong, The Straits Times Life! (Review is behind a paywall. Read the partial transcript here.)

        “Review: Wong Yong En on Hard Mode by Faith Ng (Checkpoint Theatre)” by Wong Yong En, Critics Circle Blog

        “[Theatre Show Review] Finally, a realistic depiction of Singapore’s family units in ‘Hard Mode’, a play about Gen Alpha” by Marcus Goh

        [Theatre Review] tick, tick… BOOM! by Sight Lines: Tick… Tick… Pop…

        / Isaac Tan / Leave a comment

        Turning 30 and not achieving one’s dreams / Photo: Bernie Ng / Courtesy of Sight Lines

        tick, tick… BOOM!
        Sight Lines
        6 July 2024, 3 p.m.
        KC Arts Centre
        5–14 July 2024

        The onomatopoeic title of Jonathan Larson’s semi-autobiographical musical refers to the existential angst of not achieving one’s dreams. Throw in pesky everyday realities—the AIDS epidemic; keeping the lights on; and age creeping up on you—and it feels like life is going to blow up. 

        Written before Rent (1996)—which gave Jonathan Larson the recognition that he wanted, albeit posthumously—Larson expresses his frustration of his musicals not being accepted by Broadway through a rock monologue, originally performed as a solo act with backing musicians.

        Preston Lim as Jon, a struggling musical composer / Photo: Crispian Chan / Courtesy of Sight Lines

        On first hearing the songs from tick, tick… BOOM!, it is easy to see why Broadway in the 1980s–early 1990s were not receptive to his music: overly repetitive melody lines, shoe-horning more words into a bar than necessary, and rock music being a relatively new genre in the world of musicals. 

        Yet, on further listening, it becomes clear that Larson does this on purpose with a glint in his eye, rather than a lack of skill. “Sunday” proves he is adept at gorgeous harmonies; “Therapy” shows his comic chops with a country twang; and “Come to your Senses” testifies that he can write a heartfelt, soulful song. 

        After his death, playwright David Auburn was brought in to revise the script to include Michael (Jon’s best friend) and Susan (Jon’s dancer girlfriend) with some dramatised scenes in between the songs. This allows the show to be performed by other actors, expanding the dramatic possibilities of a rock confessional to a full-fledged musical.

        L-R: Eric Larrea, Vanessa Kee, Preston Lim, Ryan Ang, Beatrice Jaymes Pung / Photo: Bernie Ng / Courtesy of Sight Lines

        Unfortunately, in Sight Line’s production of tick, tick… BOOM!, director Derrick Chew did not explore the dramatic possibilities of those scenes to the fullest extent. They feel rushed and are not allowed to settle before the song comes on. This impedes us from sympathising with the characters, especially in pivotal moments such as Michael revealing a very personal predicament to Jon.

         While Preston Lim (Jon) hits the right notes in his singing, his portrayal of the struggling composer is quite studied. One does not feel the stakes of Jon needing to complete the musical before the showcase; or not wanting Susan to leave him in “See Her Smile”; or his disdain for the self-important customers in the diner where he worked, before slipping into “Sunday”, a comic satire. 

        Perhaps it might be the nerves of the opening weekend, but one hopes that Lim can enjoy the process more and, like the person he’s portraying, throw himself into the role in the subsequent shows.

        Jon (Preston Lim) in “Sunday” / Photo: Bernie Ng / Courtesy of Sight Lines

        That said, there is much to commend the production for. 

        Ryan Ang’s (Michael) camp antics serve as a nice counterpoint to the neuroses of his best friend, Jon. The sheer abandon in his tomfoolery in “No More”—as Jon and Michael explore the latter’s apartment after Michael gave up acting for marketing research—makes you long for your teenage years and those hours spent mucking about with your best friend.

        Despite the best friends getting the most stage time, Vanessa Kee (Susan) and Beatrice Jaymes Pung (Karessa, an actress in Jon’s musical showcase) steal the show with a stirring rendition of “Come to your Senses”—a brilliant mix of technique and emotion that expresses longing.

        Both women also display a great deal of versatility. Witness Kee’s marionette-like movements while singing quickly in “Therapy”, a song that encapsulates the misunderstandings and absurdities of a couple’s quarrel. Pung pulls off both the experienced Rosa Stevens (Jon’s agent who has a strong Brooklyn accent), and flirtatious young actress, Karessa, like it is a walk in Central Park.

        Apart from proving that he can portray middle-aged men of all kinds (from the jaded bodega owner to the camp dance instructor), Eric Larrea has a strong singing voice with a bright tone. It is a shame that one could only hear a few solo notes from him in “Johnny Can’t Decide”, and I would love to see more of him in future productions. 

        Susan (Vanessa Kee) and Jon (Preston Lim) quarrel in “Therapy” / Photo: Bernie Ng / Courtesy of Sight Lines

        Despite the small performance area, it is wonderful that choreographers Tan Rui Shan and Hafiz Hosni are not constrained by it. The clever use of space, playful partner work, and dynamic transitions kept the energy high, and the audience engaged.

        Set designer Eucien Chia achieves the remarkable feat of recreating Larson’s grungy Greenwich apartment while ensuring that several other locales in New York can be easily configured by shifting a certain set piece or prop.

        No detail is neglected as the posters in the alley reflect the socio-political zeitgeist of the time, and the papers that Jon handles are facsimiles of Jonathan Larson’s actual notes.

        Add the light trusses and prominent lighting rigs by lighting designer Michael Chan, and we get a larger-than-life quality to the show—the struggles of an artist writ large.

        Jon is besotted with Karessa (Beatrice Jaymes Pung) / Photo: Crispian Chan / Courtesy of Sight Lines

        While Sight Lines’ foray into musical theatre was not a homerun (who gets it on the first try?), it definitely has potential. With its ambitious 2025 season on the horizon, one cannot wait to see what the earnestness and boldness of the company yields.

        Other Reviews

        “Theatre review: Tick, Tick… Boom! is fun and relatable to Singaporean audiences” by Charmaine Lim, The Straits Times Life!

        “[Theatre Review] Tick, Tick… Boom! Resonates with Singaporean Audiences” by Alvin, Alvinology Media

        [Theatre Review] Dream of the Red Chamber by The Finger Players—Beautiful Fuzzy Dream

        / Isaac Tan / Leave a comment

        Photo: Poh Yu Khing / Courtesy of The Finger Players

        Dream of the Red Chamber
        The Finger Players
        20 June 2024
        Drama Centre Black Box
        20–23 June 2024

        Chong Tze Chien’s adaptation of Dream of the Red Chamber is nothing short of back-breaking. 

        Apart from retelling the 18th century Chinese classic in English, and whittling the plot down to focus on a love triangle amidst the declining fortunes of a prominent family, the actors are bent double as they enter the performance space, and emerge from a lotus pond made out of organza lily pads when their characters make an entrance throughout the two-hour performance. 

        But is all the back-breaking effort worth it?

        Photo: Poh Yu Khing / Courtesy of The Finger Players

        Like a visually arresting dream, it is amazing how much technical mastery is packed into a small space. 

        The lotus pond (conceived by Chong Tze Chien and realised by Grace Lin) lends a surrealistic flavour, and all the actors shuffle around in that tight space, manipulating rod puppets (designed and created by Daniel Sim with assistance from Ling Jia Le and Shawn Kho Yzelman) for the minor characters or doing mask work for the major ones.

        Projection of motifs on white cloths suggest the interior of the family mansion, while shaking of the white cloths with Ng Jing’s sound design of waves crashing and rocks crumbling bring out the gravity of the family’s decline. 

        Max Tan’s costumes add riotous dashes of colours with an extravagant collage of styles. Think Chinese opera costumes, kamishimo triangle shoulders, poofy Carmen Miranda-esque sleeves, and European lace motifs and cravats. Despite the unlikely combination, they all seem to fit in this world alongside the white masks by Loo An Ni. 

        Photo: Poh Yu Khing / Courtesy of The Finger Players

        But like many dreams, there are some fuzzy elements one has to contend with. 

        Playwright and director Chong Tze Chien was judicious in focusing on the love triangle of Jia Baoyu (Joshua Lim) and his cousins, Xue Baochai (Ellison Tan) and Lin Daiyu (Ashie Singh), which makes the plot easy to follow. However, some context is missing. 

        Baoyu only made his choice after being chastised by his maid that being equally nice to everyone, and making them (including the maid) fall for him, is unfair to all parties involved. It is also unclear why he chose Daiyu over Baochai, and why Daiyu is so devoted to him to the extent of crying endlessly when he is unwell. 

        This is best expressed by a fellow audience member wondering out loud to her friend after the show as to why Baoyu would “fall for a crybaby”, when there is a significance to Daiyu’s crying. 

        The lack of sympathy one has for Baoyu makes the final ruse the family pulled on his wedding night, to secure the family’s financial future, less tragic than it should have been. 

        Photo: Poh Yu Khing / Courtesy of The Finger Players

        In terms of performance, all the lines are pre-recorded and the actors (Ashie Singh, Ellison Tan, Jamil Schulze, Joshua Lim, Tan Guo Lian Sutton, and Tan Wan Sze) move according to the cadence of lines. The coördination and timing are impeccable so much so that I took many double-takes throughout the show. 

        That said, there does not seem to be a cohesive approach in the mask work or the way the lines are delivered in the recording. The choices made by the actors do not seem to be guided by the personalities or the type of character they are playing.

        The movements of the actors while wearing masks range from bobbing one’s head to every single syllable (which was quite irritating after a while) to naturalistic movements. The intonation or accent of lines range from imperious to everyday Singaporean English. 

        Thus, like a beautiful fuzzy dream, one is intrigued by the sights, but more needs to be done for us to—in the words of Chong Tze Chien—“contemplate the universal themes of love, loss, and the fleeting nature of life”.

        Further Reading

        Programme booklet of Dream of the Red Chamber by The Finger Players

        Other Reviews

        “Theatre review: Dream Of The Red Chamber re-enacts Chinese classic with masks and puppetry” by Clement Yong, The Straits Times Life! (Article is behind a paywall)

        “The Finger Players’ Dream of the Red Chamber: The Love of Craft and the Craft of Love” by Ang Kia Yee, Popspoken

        “Xu Caifang on “Dream Of The Red Chamber” by The Finger Players” by Xu Caifang, Critics Circle Blog