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Written and directed by Cultural Medallion recipients Haresh Sharma and Alvin Tan respectively, untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and covers the 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. This monodrama is performed by Gloria Tan for the first time in Bahasa Indonesia. 

UCNO has been performed in Macau International Fringe Festival (2000) Asian Theatre Festival in Busan (2002), National Theatre Festival in New Delhi (2003), and M1 Singapore Fringe Festival in Singapore (2015). 

UCNO's script opens up opportunities that allow artist the freedom to reinterpret the piece in accordance to their own style. We will see for the first time how this monodrama interacts with different cultural backgrounds together with WAFT-LAB (Surabaya) as the main artistic collaborator who will work on the audiovisual installations.

A terminally ill woman hires a digital legacy company to record video greetings for her children to watch long after she is gone.

In our technologically accelerating world, this scenario of social media legacy planning has become a reality. In the digitised future, memories can be made immortal. Our data can be turned into bots. Protests can happen from the comforts of our own homes. Humans, androids and robots are all adrift in cyberspace.

The Necessary Stage continues its 30th anniversary season with another provocative work—Sanctuary, an international collaboration with HANCHU-YUEI, one of Tokyo’s most innovative theatre companies.

It presents assorted characters—from social media influencers to virtual personal assistants—through the lens of hot-button issues of the day such as surveillance, alternative fact and post-life.

Sanctuary investigates the fragility of the human condition, at a time when technology is eroding our humanity. We are the data, but the data is never ours.

　

範宙遊泳は、2015年から、シンガポールの劇団THE NECESSARY STAGE（TNS）と共同制作を行っています。

共通の知り合いである通訳者の鈴木なお氏の提案から、いち劇団同士がお互いに興味を持ち対話を重ね、資金繰りから広報活動までのすべてを自発的に行う、インディペンデントなコラボレーションです。

​創作過程はTNSの方法にのっとり、範宙遊泳がシンガポールでリサーチとWSを行う＜phase1＞、TNSが来日し稽古と小作品の発表を行う＜phase2＞、シンガポールでの滞在制作と両国での上演を行う＜phase3＞と3つのステップを踏み、長い時間をかけてお互いの理解を深めてきました。

​脚本は、両国の劇作家、山本卓卓とハレーシュ・シャーマが共同執筆し、シンガポールと日本が抱える監視社会の問題や、未来の生活のあり方、デジタルアーカイブ、SNSセレブなどをテーマにディスカッションを重ね、がそれぞれ書いた脚本を、ひとつの物語に結合させました。

音楽家でありエンジニアでもあるバニー・ハイカルが手がける音楽と、範宙遊泳のアートディレクターたかくらかずきが手がける映像とのコラボレーションも、見どころのひとつとなっています。

​範宙遊泳は10月1日からシンガポールに渡航し、山本卓卓とTNSの演出家アルヴィン・タンとの共同演出で、シンガポール公演は大盛況で幕を閉じました。

A terminally ill woman hires a digital legacy company to record video greetings for her children to watch long after she is gone.

In our technologically accelerating world, this scenario of social media legacy planning has become a reality. In the digitised future, memories can be made immortal. Our data can be turned into bots. Protests can happen from the comforts of our own homes. Humans, androids and robots are all adrift in cyberspace.

The Necessary Stage continues its 30th anniversary season with another provocative work—Sanctuary, an international collaboration with HANCHU-YUEI, one of Tokyo’s most innovative theatre companies.

It presents assorted characters—from social media influencers to virtual personal assistants—through the lens of hot-button issues of the day such as surveillance, alternative fact and post-life.

Sanctuary investigates the fragility of the human condition, at a time when technology is eroding our humanity. We are the data, but the data is never ours.

Two best friends and fellow actors perform the first scene of a play and decide to change it. As fiction and truth become interwoven, they share stories, secrets and sweets. A meditative play about the things you lose and the things you search for in life, Whale Fall explores the redemptive power of art and friendship.

What makes a marriage? The fully-furnished HDB flat, the mutual secret keeping, the mother-in-law? Azam and Xiaoyan have to confront their differences when Azam's mother and sister make a surprise visit at home. Clashes of culture, religion and gender lurk within the still waters of everyday life and threaten to undo familial ties. Heartbreaking and humorous in turns, Drip is an unflinching look at the sacrifices—big and small—that we make to be at peace with one another and with ourselves.

Drip was first conceived in July and August 2016 as part of a playwriting masterclass led by Huzir Sulaiman, Joint Artistic Director of Checkpoint Theatre. It was written over six weeks under the guidance of Huzir, with the help of classmates Kimberly Arriola, Joses Ho, Debbie Ng, Dora Tan, Jo Tan and Nanda Yadav.

Being in Singapore
Being a model citizen in Singapore
Being a dementia patient in Singapore
Being censored in Singapore
Being a political detainee in Singapore
Being off centre in Singapore
Being Malay in Singapore
Being a teacher in Singapore
Being an Indonesian Maid in Singapore
Being in a hospice in Singapore
Being fundamentally happy in Singapore
Being a Chinese MP in Singapore
Being a young person in Singapore
Being a suicide victim in Singapore
Being an artist in Singapore

Over three decades, The Necessary Stage and actors-collaborators who have been partners in the making of the company’s devised plays have revealed to us over and over again—in profound, heartbreaking and funny ways—what it means to ‘be’ in Singapore.

Vinod | Radha Krishnan | Eric Sim | Noorhayati Yusof | Sergeant Mok | Jali Bin Mohd Fariz | Mrs. Chua | Mrs. Phua | Alisha | Melly | Saloma and many more

Away from the buzz of the rehearsal room and in the alone space where a playwright for a time dwells, Haresh Sharma forms up direct, powerful, honest, smart, funny words that enable these characters to speak into the very soul of our city.

Being Haresh Sharma is a work that looks at Haresh’s body of writing over 30 years. It makes bold, unexpected links and associations, mapping stories and characters in ways that surface the social, political and spiritual aspects of life here; bringing it all together with unexpected and exciting performance energy, sparking new ways of looking at his words and of experiencing performance and theatre.