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This play is about Systemic Lupus Erythematous and the ordinary and extraordinary lives of the people who struggle, work, play and simply live with it day to day.

What is your notion of beauty and what would you do to look beautiful? This play explores the social preoccupation with being thin and beautiful, and the potentially deadly lengths to which teens will go in order to look socially acceptable. Presented in an innovative and interesting manner, this play highlights issues of identity and positive self-esteem.

Macbeth is the chronicle of one man's moral collapse and dishonour, brought about by his obsession to fulfil what he believes to be his destiny.

The Necessary Stage will be adapting this potent brew of magic, murder and madness into a Drama-In-Education format. Selected scenes will be dramatised, and students will have the opportunity to interact with the characters themselves after each performance questioning them on their actions and motivations. Macbeth is an excellent introduction to the playwright and his classic, and a must for those studying Shakespeare.

An exploration of Malays and Chinese in Singapore past and present, the play is divided into six episodes:

Sang Nila Utama has a vision for tomorrow.

People run amok.

SitiMat tells the story of the nangka.

Three sisters try to resist rape.

Father knows best.

Virgins bathe at the well.

Using music, movement, humour and strong visuals, Pillars weaves yesterday's folklore and fables with today's images and metaphors, and brings you into a quirky new world which is also your home.

The American author Gertrude Stein (1874 - 1946) moved to France in 1902 and lived there for the next 42 years. During that she  wrote almost every day, in pencil, in notebooks of the kind used by French schoolchildren. Over the years, as she filled the notebooks up with her poems, plays, novels and essays, she lined them up on a long shelf. At the time of her death, only a small portion of these accumulated writings had been published.

A Simple Thing takes pages from these notebooks and juxtaposes them to Thomas Leabhart's body writing-corporeal mime, based on the technique developed by Etienne Decroux in Paris during many of the same year Stein was writing there. The cubist spirit informs Decroux's work as well as Stein's.

A story line as such does not exist here (as it usually does not in Stein's writing). Whereas the verbal text (which plays with repetition) speaks of memory, resemblance, confusion and loss, the movement text explores surprise, imbalance, sudden shifts of weight and emphasis, and stages of consciousness, all of which have metaphorical potential. The movement text does not seek to mirror the verbal text, yet the structural problems they explore are similar.

History, literature and culture are used as starting points to create a play about dislocation and alienation.