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The group aims to support local drama by staging local plays so that local playwrights may have the opportunity to see their plays produced. It also stages established works, both foreign and local, to teach members stagecraft and structure of plays and develop their skills for staging plays. It presents James Saunders’ Over The Wall directed by Ivan Heng, a play about the lives of the inhabitants on an island with a wall. 

Over the Wall is a play that has an open text, inviting directors to attempt different workshopping approaches and interpretations.

Lights, set and sound are always part of every director's concern. These three elements can largely help to convey that final touch of mood, ambience and meaning which heighten the audience's experience of a play--even if it is a minimalist-type production. The actors in this production have been workshopped such that they are able to respond to different rhythms, sounds, lights and props--building, improvising upon the sensory input that the lighting, sound and set designers provide. In turn, the designers build upon the actors' improvisations and as a group, establish a way of working organically to create a play. My cast and I hope that for you, this piece touches your senses in more than just a literal way.

The word 'movement' in theatre seems to scare people. "What exactly do you mean--a movement-based play?", ask actors when I ask actors if they are interested in participating. When asked by The Necessary Stage to direct this, I wasn't too sure myself what shape the play would take. We often take refuge in words. What the cast and I have done is to use as our starting point, not content but form--working with rhythm, sound, colours, texture, imagery to come up with movement-base improvisational pieces that use no words. Words picked up from various sources cut and patched together were introduced only when we got used to using our bodies, rather than just our mouths.

Lanterns Never Go Out revolves around Kah Wei, a 15-year-old girl who finds that being a teenager with new roles and new expectations is not easy. When her ideals and reality do not match, she wishes to return to her childhood of goldfish lanterns and comics. As the play progresses, we find ourselves questioning the dos and don'ts, the whys and hows. Or we may find ourselves questioning Kah Wei.

Though we think that women in Singapore have come a long way--so called 'liberated'--we are still subjected to various conditioning and control. So when Alvin Tan of The Necessary Stage approached me to do something for Fringe '92, I thought it would be an opportune time for this play. I held a brainstorming session with six people, males and females, and discussed ideas for the play. After this meeting, I gathered three actresses to begin improvisations. We discussed our own experiences--growing up as a female, the expectations of parents, family and so on. We improvised scenes in different situations--childhood, parents and daughter conflicts, women at the workplace...I finally decided to focus on women conditioned by society, family, media, man and other women--women can sometimes be their own worst enemies.

Three Years in the Life and Death of Land is about the Lims, the Mulchands, a ghost, a cat and three mosquitoes - one big family, trying hard to be happy.

Superfriends at the Hall of Justice explores how a basic human function, such as communication, is problematised. Solipsism and narcissism replaces the humility to learn and the process of self-discovery. As the desire for stability and self-definition becomes the premise for existence, truth is no longer an important journey. Powerful people retain their status by defining others according to their own perspectives. Others cannot co-exist, let alone be recognised on their own independent terms.