L-R: Daisy Anne, Rino Junior John, Andrew Marko, Vanessa Kee / Courtesy of Sing’Theatre

Sing’Theatre opens its 2026 season with a stripped-back musical that dives into the messy reality of art-making: [title of show]. Currently running at the Alliance Française Theatre until 25 April 2026, the musical features just four actors, one keyboard, and a story about the creation of the very musical the audience is watching.

Cast members Andrew Marko, Daisy Anne, Rino Junior John, and Vanessa Kee shed more light on the show’s unique demands and ponder the chaos of their own creative processes in the following interview.

Synopsis

Written by Jeff Bowen (music and lyrics) and Hunter Bell (book), the show follows two struggling writers, Jeff and Hunter, who hear about a new musical theatre festival with a submission deadline just three weeks away. With nothing but ambition and a blank page, they enlist their friends Susan, Heidi, and their trusted accompanist Larry on the eighty-eights, to create something out of nothing.

When Jeff suggests they write a musical about writing a musical, the group embarks on a hilarious, heartfelt, and very human journey through the creative process — filled with self- doubt, inside jokes, and ultimately, the triumph of originality.

Having performed in various musicals, what would you say is unique about [title of show]? 

Andrew: [title of show] is an extremely unique musical because there’s only one keyboard and four voices with a super minimal set. There’s not a lot of stage business to hide behind and we rely a lot on the script and songs to carry the storytelling through. 

Daisy: [title of show] demands a sort of vulnerability and authenticity from its actors that really strips back playing a “character”, and really challenges you to just show up as yourself and… listen. Also, the fact that the musical is about the creation of itself, it shows a side to the creative process of producing, writing, and performing a show that non-theatre performers wouldn’t otherwise get to see. 

Rino: I think what makes [title of show] really unique is how honest it is about the creative process. Most musicals show you the polished end product—but this one invites the audience into the messy, uncertain, slightly unhinged middle of making something. 

We don’t have the spectacle of huge set pieces or a full band to accompany us, so there’s a kind of nakedness to it. That lack of spectacle really forces us to rely on the writing and the connection with the audience. There’s nowhere to hide—which is scary, but also really freeing. 

Vanessa: Two main aspects stand out for me. First, I don’t think there has been a musical written to be quite as transparent and exposing of the creative process for making a theatre show. It’s really refreshing to see how cleverly self-referential and meta this show can get. It’s like the show exists in “break-the-fourth-wall” land (which is so rare!), while delicately balancing meaningful moments. It’s a great blend of comedy and emotional impact.

The second aspect is how it’s a really intimate show with only four actors and a keyboard on stage, so it really allows you to form a familiarity and kinship with the people you see on stage.

The show celebrates creative chaos. What’s the messiest part of your own creative process?

Andrew: The crippling self-doubt and impostor syndrome that creeps into almost every waking second of the process.

Daisy: This is such a fun question. I’m very much a creative who thrives on play and fun. Having the freedom to discover as you build the show versus making pre-emptive choices allows for so much more creative depth. The mess is playful, and eventually you get a beautiful work of art from it.

Rino: The messiest part for me is definitely the overthinking stage. It really eats you up sometimes and turns into this spiral of “am I good enough?” But I’ve started to realise that the chaos is part of the process. This show has reminded me that the mess isn’t something to fix straight away—it’s something you kind of have to move through.

Vanessa: The messiest part of my own creative process must definitely be the struggle of fighting the negative voices in your head. Ultimately, there comes a point where you have to make a decision, and decide to trudge on and believe in your choices before it affects your work. There’s nothing quite as messy as facing yourself, but you might even surprise yourself positively once you relinquish control of needing to be perfect.

As the show is essentially about making art, has your involvement in this show made you relook at the art-making process and why you make theatre?

Andrew: It definitely has. This show has really made me think about the creative process and how much I’d love to be involved in that, rather than just being a pawn in someone else’s game of chess.

Daisy: Each production I work on teaches me something new about myself as an artist, whether that be a challenge, a technique, or a skill. This show has brought me back to art-making, as I’ve been away from the stage for a couple of years. And it’s challenging me to show up with vulnerability and presence rather than be a larger-than-life character (I’ve done a lot of children’s theatre).

Rino: Definitely! Working on this show has made me more aware of how vulnerable making theatre actually is. You’re constantly putting a part of yourself out there and hoping it “works”. It’s reminded me that I don’t just do theatre to get it “right” or to make something perfect. I do it because I want to connect with people!

Vanessa: Having been lucky enough to do the show twice, and as the same character too, a few things stand out to me now at a different point in my life. There’s a certain beauty in creating art while being faced with pressure and obstacles—it forces you to be creative with your solutions and really tests how much you’re willing to toil to make your dreams work. And usually, you’re willing to do anything for that dream because it heals something in that inner child of yours who had unbridled faith in yourself before you knew of any fear. This show really reminds me of that.

If you were to write a musical about your life, what would the title be?

Andrew: I’m Doing My Best—The Musical.

Daisy: Identity Crisis: The Musical.

I’m a third-culture kid. Having lived in Singapore my whole life and grown up in the local education system, I’ve assimilated into Singaporean culture more than the average foreigner, yet I still have to prove that to feel accepted. Themes of acceptance, self-identity, immigration, and cultural confusion would all be a part of it.

Rino: Tough one! But I think it’ll be: Why Am I Tapping Here?

Vanessa: Shoutout to a buddy of mine who jokingly wrote a gag song for my birthday, I’m going to steal your idea: Geylang Girl. Who knew a kid who grew up in Geylang would one day be doing musicals on a fancy stage? Not me. Kids, dreams do come true sometimes. Keep your fairy sparkle alive and hold the people who believe in you close.

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Catch It!

[title of show] runs from 15 to 25 April 2026 at the Alliance Française Theatre.