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Macho, macho man! I gotta be. . . a macho man? OH MAN! What are men like in Singapore? Powerful? Confused? Boring? Sexy? the Necessary Stage grabs the issues by the balls, and probes deep into Singapore's MANHOOD. Are men in Singapore getting the short end of the stick? Are they losing their marbles? Are they still on top?

untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and cover 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. References are made to Krishna and Shiva, excerpts from the Dhammapada - The Sayings of Buddha - are read; and rituals are performed in this 30-minute play. The monodrama also features viewpoints of other characters. A friend tries to get the cow to move away from her husband's rotting body; the cow's child cires because of mother's lack of attention. In the end, the cow has an outburst, where she accuses the gods and at the same time begs them for help and direction. and with her final lines, another quotation from the Dhammapada, she finally moves on: "I want nothing from this world. And nothing from the next. I am free".

In untitled women number one, two women who are absolutely still throughout the play, talk about their relationships, their past and future. A highl exploratory play, the text is very opaque - the audience is given snatches of conversations/dialogue with long moments of silence in between. The dialogue makes no obvious reference to the two women's relationship. The audience is left to decide whether the actors are playing a range of characters, or just one character; whether time is moving forwards or backwards. The actors go through a rollercoaster of emotions - one minute they could be shouting and in pain, and the next they are serene, and the very next they are crying. Yet, throughout, they do not move at all. The text makes references to gender, quoting stories about women and talking about sexuality, but ultimately the play transcends its very title in its portrayal of pain, death and interdependence.

Drawing inspiration from Hesse's Siddhartha, Gibran's The Prophet and other stories of journey and search, Haresh Sharma employs techniques of storytelling, magic realism and narrative framing to create a theatrical and lyrical exploration of perspective and truth. the production also features interview footages with a 78-year-old Singaporean widow who talks about her husband, her son and herself growing up in Singapore.