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Champions of Bold Interactive Theatre in Singapore, The Necessary Stage and the South East Community Development Council present an interactive performance exploring pertinent concerns of our society.

Let Me Go! Is about Kheng, who is invited by her best friend, to go to the concert of a lifetime! One major problem - she would get home way past her curfew and her mother will not budge. She is torn between following her mother's script orders, her friend's tempting suggestion, her love for music and her impulse to just get out and enjoy herself and exert her rights. She does not want to upset her mum, but then is it time to make her own choices since she is not a child anymore and after all, she is pretty responsible?

After the ten-minute play, the audience will get the chance to work together, through role-play of the character with the actors, and a facilitator, to discover ways to work through Kheng's frustrations, and the highs-and-lows of a parent-child relationship.

This programme will not only get audience thinking more deeply about the issues at hand, but also discussing them, and taking on the roles of the characters in order to negotiate change. Let Me Go! gives Singaporeans the chance to air their shared concerns and frustrations and work together to find ways of coping, and solving problems.

A group of people come together to organize Singapore's first Pride Parade - Singapore's first Mardi Gras. They plan to hold the March at the Padang, with dykes on bikes, fags and fag hags, leathers and feathers; they want to shout out loud and be proud...Excuse? Will they even get a license? Um, will we? As they plan, the tension mounts; the cracks in their relationship surface. Jokes turn to bitchiness, which turn to clawing...Eventually, the very event that is supposed to show their unity threatens to tear them apart. Are they going to prove themselves to be ONE PEOPLE, ONE NATION, ONE SIN-GAY-PORE...or will the rainbow colours represent segregation and prejudice? Is pink over?

Mourning is such hard work. You want to cry but you don't want to be unglam. And what do you wear to your friend's wake if you have to go to a club after that? The death of someone special causes a group of friends to re-examine their lives and their feelings about death. Fundamental questions are asked: Will I go to hell if I'm a bitch? Am I spending too much time at the gym? Can I be gay and married? The group of friends soon make important realisations: That you can be married and gay; that you can be friends and use each other; that you can be top and bottom. If you ask nicely, will your friend's corpse come back to life?

Note: The characters in Top or Bottom can originally be found trying to organise Singapore's first Pride Parade in Mardi Gras.

"I left in the morning, with a bottle of water, in search of her."

So begins a woman's journey--a journey filled with chance encounters, strange visions and transient connections. In the course of the woman's search, she encounters various characters from her past--the old matchstick man, the young girl, the boatman and the angel.

As day turns into night, as her water bottle slowly becomes empty, the woman is forced to confront her journey: "When soemone is searching, the only thing your eyes see is what you search for", the girl tells her. "You must stop searching and start finding."

Can her search ever end?

Acclaimed playwright Haresh Sharma has drawn inspiration from Hesse's Siddhartha, Gibran's The Prophet and other stories of journey and search to create a new writing for the theatre.

Employing techniques of storytelling, magic realism and narrative framing, Koan is a theatrical and lyrical exploration of perspective and truth.

The production, helmed by visionary director Alvin Tan, also features interview footages with a 78 year-old Singaporean widow who talks about her husband, son and herself growing up in Singapore.

Koan has toured to the 2003 Asian Theatre Festival in Busan (Korea) and Next Wave 2003 Festival (Seoul, Korea)

A layered and moving exploration of power, sexuality and spirituality and survival in the post-traumatic world, the multiethnic, multimedia romp is interwoven with the stories and emotional landscapes of its characters.

Writing in response to 911, playwright Haresh Sharma excavates the tragedies that surfaced--dishonesties, power struggles, corruption and egos--which have made the world an elimination platform dominated by the powerful. Where do we look to for the new moral order?

godeatgod is an intimate, personal and at times funny exposition about trying to live a better life; a take on censorship in the context of art; and an examination of love and grief.

godeatgod was first staged in 2002.

Beyond the make-up, costumes and jokes, do we really know who Kumar is? He has committed his entire life to bringing the alternative, the politically incorrect (some may even add vulgar) into the mainstream. The Necessary Stage now provides a platform for the real Kumar to surface presenting Kumar's life, childhood, family, on being Indian, career and living in Singapore. Who would have known that beneath the lashes, sequins and feathers is an intelligent, kind even tender Indian gentleman. 

A group of oldies are caught off guard by the demands of ageing. They are 80 years old and not ready to die.

An artist has yet to finish the painting of her life. An aeging model still wants to be beautiful. A man only remembers his flower. A woman cannot stop questioning her life. The pious one loves only God and her cockroach. The weird lady keeps cleaning and the mature one wants to throw a party.

A paper doll visits and tells them one of them is next in line for death.

Refusing to act their age, these 7 old kids throw a fit. Panic sets in and they do the unthinkable.