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Productions

What Time You Coming Home?

What should the mother do when her daughter is not home yet after midnight?
2010
 -
Singapore
 

Staging

What Big Bombs You Have!!!

Do you feel safe? Is your school safe? Is your building safe? Once upon a time, there was a little girl who was asked to go to her grandmother's house. Did she make it there? Or did she disappear? Was she kidnapped by someone close to her? Or did she stray from the path? Is your home safe? Are your friends safe? A re-working of the Little Red Riding Hood, What Big Bombs You Have!!! is a story of imminent danger and fear that we all feel. Is the cinema safe? Are aeroplanes safe? With bomb recipes found over the Internet, mass suicides, killings in schools, the threat of emergency looming over us, we live in a SCARY world. Do you feel safe?
2005
 -
Singapore
 

Productions

What Big Bombs You Have!!!

Do you feel safe? Is your school safe? Is your building safe? Once upon a time, there was a little girl who was asked to go to her grandmother's house. Did she make it there? Or did she disappear? Was she kidnapped by someone close to her? Or did she stray from the path? Is your home safe? Are your friends safe? A re-working of the Little Red Riding Hood, What Big Bombs You Have!!! is a story of imminent danger and fear that we all feel. Is the cinema safe? Are aeroplanes safe? With bomb recipes found over the Internet, mass suicides, killings in schools, the threat of emergency looming over us, we live in a SCARY world. Do you feel safe?
2005
 -
Singapore
 

Staging

What's the difference?

Three friends of three different races decide to combine Chinese New Year, Hari Raya and Deepavali all into one festival and celebrate them all together.

"We will call it New Raya Deepavali! Or Hari Chinese Deepavali! Or Deepavali Raya Year!"

First they go through the process of sharing with each other their customs and then they decide to start visiting each other's families to share in their customs.

As they bring their friends to their homes, they soon discover what their culture's have in common but also realise the divides that have been built up between the different races over time. They discover their parents' own racial and cultural prejudice and they even manage to discover some of its roots, including Singapore's racial riots, and the Japanese occupation.

Brought back by demand this play first toured Singapore schools in 2001, 'What's The Difference?' has proven to be a wonderful way to open discussion about racial and cultural harmony as it explores difficult questions through the innocence and honesty of a child's eyes. The play is filled with colourful and endearing characters and stories inspired by real life historical accounts of Singapore's history. 
2004
 -
Singapore
 

Productions

What's the difference?

Three friends of three different races decide to combine Chinese New Year, Hari Raya and Deepavali all into one festival and celebrate them all together.

"We will call it New Raya Deepavali! Or Hari Chinese Deepavali! Or Deepavali Raya Year!"

First they go through the process of sharing with each other their customs and then they decide to start visiting each other's families to share in their customs.

As they bring their friends to their homes, they soon discover what their culture's have in common but also realise the divides that have been built up between the different races over time. They discover their parents' own racial and cultural prejudice and they even manage to discover some of its roots, including Singapore's racial riots, and the Japanese occupation.

Brought back by demand this play first toured Singapore schools in 2001, 'What's The Difference?' has proven to be a wonderful way to open discussion about racial and cultural harmony as it explores difficult questions through the innocence and honesty of a child's eyes. The play is filled with colourful and endearing characters and stories inspired by real life historical accounts of Singapore's history. 
2004
 -
Singapore

Productions

What About Me?

What About Me? is about Kheng, who is torn between her responsibilities and her dreams. When she realizes she does not have the time or energy to follow her heart and join the Talent Time, because her school, her mother and her best friend are pulling her in different directions, Kheng realizes she wants to place her own needs above theirs for a change.
2003
 -
Singapore
 

Staging

WWW

Stop the Press. She is not Wonder Woman. She is only a Thai hooker. She can't save the world. All hell is breaking loose. The world is on the brink of World War III. The world needs superheroes. An american boy is abducted. An ex-beggar holds him hostage. His parents demand justice, compensation and salvation. But the superheroes in Thailand are not Clark Kents, Bruce Waynes or Diana Princes. They are gigolos, hookers and drags. Who will save the boy? Who will save his parents? Who will save the Supermen, Batmen and Wonder Women? Who is saving who?
2002
 -
Singapore
 

Productions

WWW

Stop the Press. She is not Wonder Woman. She is only a Thai hooker. She can't save the world. All hell is breaking loose. The world is on the brink of World War III. The world needs superheroes. An american boy is abducted. An ex-beggar holds him hostage. His parents demand justice, compensation and salvation. But the superheroes in Thailand are not Clark Kents, Bruce Waynes or Diana Princes. They are gigolos, hookers and drags. Who will save the boy? Who will save his parents? Who will save the Supermen, Batmen and Wonder Women? Who is saving who?
2002
 -
Singapore
 

Productions

WRAP

This is a short film of about 20 mins. It is narrative, following a day in the life of a middle-aged woman who is a housewife. The day ends tragically. The film elaborates on the daily rituals of housekeeping, which correlates in some way with the woman's relationship with her family.
2001
 -
Singapore
 

Talks & Interviews

WORK/PLAY

The following description was extracted from the Introduction in focas Vol. 3 by Editor Lucy Davis.

The forum had grown out of two recent developments in the arts community. The first was a search for a language of practice. For some time now, various members of the arts community have felt that arts practice is increasingly overlooked for the sake of arts production. These attitudes, in turn, have lead to a tendency by some practitioners to essentialise their practice in a defensive response to allegedly product-focused arts funders and arts commentators. The second development that inspired the Work/Play forum was the oft-heard refrain, "Making Art isn't Fun Anymore", and the pressure on cultural production and practice to become more and more like other rationalised industries. This rationalisation of the arts finds expression in the ever-increasing application of productivity measures, including such quantitative "performance indicators" as the number of productions per company or per artist, per year, and audience per funded dollar.

The forum transcription was published in focas Vol. 3.
2001
 -
Singapore

Productions

Waiting

In Waiting, we watch three waiters going through ups and downs together. As we journey with them, we realise that they are a kind of family as well. The work place is like a family. We spend lots of time at work and over time, we experience each others' idiosyncrasies, work-styles and attitudes. With some acceptance and understanding, we come round to having to deal with each other. Time and a listening ear can be all that matters when we need some attention and appreciation.
2001
 -
Singapore

Staging

What's the difference?

What's the difference? aims to help students understand and respect difference. Some children already have prejudices and discriminate against others who are of a different colour, size or gender from themselves at a young age.

The pay hopes to enable students to reflect on how these prejudices are formed and to question their validity. It also hopes to encourage students to examine their own thought and decision making process and to provide them with alternative perspectives.
2000
 -
Singapore
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