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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.

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".

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.

A family that plays together, stays together. But what if this family has no time to play? What if this family is plagued by problems - a Father who has recently been retrenched and has difficulty finding a new job; a daughter stressed out by school and relationships; a son who has no time to enjoy his youth; and a mother trying desperately to hold the family together. A family that plays together, stays together. This family is not only trying to stay together; this family is fighting to stay alive.

The reason for Siti's choice of Goldilocks as her monologue piece is because everybody sees her as the little brat who's always up to mischief. She wants to put herself in Goldliocks' shoes and sees how she defend herself against all the accusations that she's been facing all the while.

This piece tells the story of an unmarried lady in her early thirties who has a crazy affection towards cats. Nothing or no one can come in between herself and her furry friends, not even her lover because she has a "natural affinity" for them.

Everyone is unique. They have their differences and similarities. Natasha's character has a rather odd taste to life. She is fantastic gossiper and loves mocking other people without seeing her own faults. Her flirtatious and bitchy nature causes her to be portrayed as a somewhat immature character as her coyness and insensitivity towards others is expressed in her gossip.