Asian Adaptations of Shakespeare Today
During the AAPI (Asian Americans and Pacific Islanders) heritage month, let us explore the...
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Singapore
Transnational Chinese Theatres in Pandemic Times
I have hesitated for a while to engage with the increasingly ubiquitous “[insert own subject...
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The Power of a Collective: Playwright Groups at Centre 42
Playwriting can be a lonely career. For the independent playwright, creating work and searching...
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Choy Ka Fai: Dr. Dance Trips The Light Fantastic
Media artist Choy Ka Fai experimentally explores movement, art, and technology with some science...
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Walking Alongside “Bitten: Return To Our Roots”
Taking a right turn towards Camp Kilo Charcoal Lounge (formerly Sam Tat Building) at Kampong...
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Liu Xiaoyi: Bending Space And Time In The Theatre
As part of the Asian Theatremakers series Liu Xiaoyi and I are arranging for a time and date to...
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Artistic Collaborations In Southeast Asia–Current Gaps And What’s Next For Producers
Intercultural Interlocutors: Tay Tong and Faith Tan, Part III *This is part 3 of a 3 part...
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Film Stars + Live Theatre = Awesome
Seven things we love about NT Live at Esplanade. “Furiously exciting” and “politically urgent” are...
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PLAYtime! Is Serious Business
Young Artist Award recipient Ian Loy has carved himself a niche in the Singapore arts scene...
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Pushing Early Regional Exchanges And Responding To Artists’ Needs
Intercultural Interlocutors: Tay Tong and Faith Tan, Part II *This is part 2 of a 3 part article. ...
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A Producer’s Life–Catalysing Exchanges And Supporting Art-Making In Southeast Asia
Intercultural Interlocutors: Tay Tong and Faith Tan, Part I *This is part 1 of a 3 part article. ...
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Shakespeare In The Park’s “Julius Caesar”: I Am She
The Singapore Repertory Theatre (SRT) Shakespeare In The Park returns to Fort Canning Green, after...
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“OCD Love” by L-E-V Dance Company: Mental Illness Plus Dance Equals Ballet and Horror
L-E-V Dance company’s OCD Love is tightly choreographed and intense in its physicality, as might...
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“A Dream Under the Southern Bough – The Beginning”: Kun Opera for the Millennial Stage
A Festival Commission for the Singapore International Festival of Arts (SIFA) 2018, Toy Factory’s...
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Nine Years Theatre’s “Pissed Julie 茱莉小解”: Third Wheelings
In Pissed Julie, the magic number is three. The play begins with a row of three chairs, dwarfed by...
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“Fourteen” By Split Theatre: Getting Schooled
At front-of-house before the doors open, a crew member encourages the audience to walk around the...
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The Glorious Anger Of “Leda And The Rage”
Corrie Tan: When Edith Podesta first told us during our Studios podcast interview that Leda And...
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The Tiger And The Anus: How KFDA Decolonises Cosmopolitanism
The Kunstenfestivaldesarts (KFDA)’s commitment to promoting “cosmopolitan vision as an...
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The Second Breakfast Company’s “The Moon is Less Bright”: A New Phase
The Second Breakfast Company restaging Goh Poh Seng’s The Moon is Less Bright is akin to grabbing...
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Mayfly Docus: “Die Tomorrow” And “14 Apples” At SIFA’s “Singular Screens”
At this year’s Singapore International Festival of Arts (SIFA), the two films from Southeast...
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