Jack & the Bean-Sprout!
(picture courtesy of W!ld Rice)
Event: “Jack & the Bean-Sprout!” by W!ld Rice
Venue: Drama Centre Theatre
Run: 21st Nov – 14th Dec 2013
Stairway to Heaven
W!ld Rice heralds the arrival of the year-end yuletide season once again with this year’s Christmas pantomime “Jack & the Bean-Sprout!”, an almost annual tradition which stretches back to when they staged their first panto “Cinderel-Lah!” in 2003.
Along with “Cinderel-Lah!”, staged in both 2003 and 2010, “Jack & the Bean-Sprout!” shares the honour of being just the second W!ld Rice panto to be restaged, although this show features a new script by young playwright Joel Tan (who writes based on the original concept and characters by the original playwright Desmond Sim and director Jonathan Lim), and a whole new set of original songs by Joel (lyrics) and maestro Elaine Chan (music).
Caleb Goh stars as the protagonist Jack this time round and ably holds his own as compared to the original role played by Sebastian Tan in 2006, channeling a more straight-laced and charming vibe in contrast to Sebastian’s more cutesy and naive portrayal.
The opening scene establishes the play’s setting to be in the Hougang heartland (the opening number itself is entitled “Hougang”), and we are immediately reminded of the fact that we are watching a uniquely W!ld Rice pantomime.
All the familiar hallmarks are there – the unabashed localisation, the sustained emphasis on audience participation, the wonderful First Stage! Kids, the not-so-subtle political jibes (“lightning” and “hammer”), and the familiar strains of Elaine’s music.
In fact, this is vintage W!ld Rice panto theatre.
It’s as W!ld Rice as it gets, really.
After 10 panto stagings, you’d expect that they’ve more or less got their formula down pat…and they most certainly have.
Joel Tan, being handed the task of writing this year’s libretto and lyrics, produces a fairly serviceable script although, to be fair, one must suspect that he – together with all other librettists for past pantos – must certainly have had their hands loosely tied in order to conform to the panto style and the (in Joel’s own words) “kok” quality of humour that is so inherent in most of W!ld Rice’s pantos.
And as with all their pantos, there are two levels to the humour – one which is aimed directly at the kids, and another (the “wink wink” kind) which just flies above their grasp but is easily understood by the adults, and Joel demonstrates a fine ability in crafting these multi-layered jokes.
There were many elements embedded in the storyline which alluded to local issues, and although some were pertinent, such as the inevitable poke at gambling at MBS and the condo craze, there were others which merely brushed at the surface, e.g. xenophobia, giving to religious causes, and there were yet others which seemed to be rather outdated, e.g. lift upgrading, opposition MP’s lack of office.
In the lyrics department, Joel demonstrates great skill especially in the song “What is This Feeling?” (no, not the song from “Wicked”), with excellent use of wordplay and double entendre.
There was also the delightful little homage to Dick Lee in the song “Casino Rhapsody”, where the songwriters embed the musical lines (“Throw Dice Paradise, gambling is very nice, here you can find bankruptcy in ninety-nine varieties…”).
I thought it was a nice touch.
In the music department, the score to “Jack & the Bean-Sprout!” is vintage Elaine Chan, but that also means that the tunes, while pleasant, sounded a little too much like many of the songs from her past pantos.
The one standout song for me – and there usually is at least one in every Elaine Chan score – was definitely “Blue”, the reflective song sung by Xeno towards the end of the show, which carried both a highly lyrical quality to it, as well as a sense of inventiveness.
The pantomime features wildly likeable actresses Karen Tan and Siti Khalijah Zainal in the comedic roles of the Golden Hits Harp and the Goose Mangat respectively, and the ladies bring their A game to the stage once again – Karen in her deadpan comic delivery in contrast to Siti’s earnest, adorable humour.
Kudos also to Darius Tan who plays the dramatic Widow Neo in a type of role which he seems to excel at, and also to Ethel Yap, who carries herself with great poise and with a fine singing voice to boot.
“Jack & the Bean-Sprout!” is all that you’d expect from a W!ld Rice pantomime and more.
It is apparent that hardly any expense was spared in the staging of this panto – what with glitzy sets and costumes – and as Artistic Director Ivan Heng himself explained, even though some might view this as merely a “kids’ show”, it nonetheless means a great deal especially to the many First Stage! Kids who may be participating in a theatre production for the first time, and thus, it is important that the show be done beautifully and done well.
Hats off to W!ld Rice for persevering with their brand of Christmas pantomime all these years, and the fact that we’ve come to the 10th edition is a testament to the company’s vision, talent, and fortitude.
There have been many exhilarating panto journeys over the years, and there is no doubt that this year’s “Jack & the Bean-Sprout!” fully deserves its place in the annals of wonderful W!ld Rice pantos.
A sneak peek into Angkor: An Untold Story
Photo credit: Esplanade – Theatres on the Bay
Event: Angkor: An Untold Story by Apsaras Arts as part of Esplanade’s Kalaa Utsavam – Indian Festival of Arts
Run: 15 & 16 Nov 2013, 8pm
Venue: Esplanade Theatre
Cast: Priyadarsini Govind (Vyjayanthi), C.K. Balagopal (Divakara Punditha), Sabanitha Shanmugasundram (Queen Suryavana)
Entering into a world of ancient mystery and fantasy, created with multimedia projections and movable props, this was what I was greeted with in a sneak peek into the 1st 3 acts of the opening show of Kalaa Utsavam, Angkor: An Untold Story.
Inspired by the royal portrait gallery of 1,795 women called as Devatas, that was rendered in stone within the temple of Angkor Wat, Angkor traces the story of how the largest Hindu temple in the world was built. It tells of the Khmer Queen Suryavana’s search for arts to quench the king’s thirst for war that brought the beautiful artisan Vyjayanti from the Chola Empire to the Khmer, but which results in a path of conflict that eventually ends in tragedy.
The dance drama is a culmination of Esplanade Co. and Apsaras Arts’ past collaborations, being the first large-scale production staged as part of this collaboration at the Esplanade Theatre, following a prelude Glimpses of Angkor that was staged in March. The dance drama was conceived over a period of 5 years, through research and groundwork to develop the story that is being performed.
Given the short 3 acts that I got to see, my first impression was the way the story was expressed through the gestures and body language. I’m not familiar with Indian dance drama, which comes from classical dance and for this, I believe is in bharatanatyam style. It is different from dances like ballet or contemporary (which is more abstract) in that expression and gestures were part of the storytelling, like a form of sign language. Although no speech (or at least in the acts I saw) was made, going by the synopsis, I could kind of follow the story even without surtitles, which was not available to me at the point of time. It was also heartening to see Neila prepping the cast and crew before the rehearsal with words of encouragement. The set was incomplete during the preview, but I can imagine that it will be impressive with the projections and the desire to create the Angkor Wat on stage. Unfortunately, I was not shown much of the dance that would be performed in the main body of the show. For those interested in classical Indian dance as a theatrical production, you can check out this show which opens tomorrow on 15 Nov.
If you’re interested in Angkor, you might be interested in other theatre productions in Kalaa Utsavam – Indian Festival of Arts which are C Sharp C Blunt and Girish Karnad’s Flowers, both to be performed in English.
In addition, from 15 – 17 Nov, the Esplanade Co. will also be presenting non-ticketed kathakali performances by India’s Margi Theatre at the Esplanade Outdoor Theatre for all to enjoy. Kathakali is a highly stylished form of dance-storytelling that dates back to the 17th century, Kerala, India.
Coming Soon: Jack and the Bean-Sprout!
Event: “Jack & the Bean-Sprout!” by W!ld Rice
Venue: Drama Centre Theatre
Run: 21st Nov – 14th Dec 2013
For the 10th edition of its annual year-end musical pantomime, W!ld Rice will be bringing back the lovable original musical “Jack & the Bean-Sprout!”, directed by Ivan Heng.
This musical was first staged at the same venue in 2006, although this upcoming iteration will be a brand-new production with book and lyrics both being rewritten by up-and-coming young playwright Joel Tan, with new original music by stalwart Elaine Chan.
It features Caleb Goh (“Asian Boys Vol. 1”) making his pantomime debut as the lead character Jack, together with Darius Tan playing his widowed mother.
Other familiar favourites include the inimitable Karen Tan and Siti Khalijah, as well as up to 40 child actors aged 4 to 12 as part of W!ld Rice’s FIRST STAGE! programme.
Being a big fan of musical theatre, I am particularly looking forward to this production so as to be able to hear the new original songs written by Elaine and Joel.
Past editions of W!ld Rice’s pantomimes have rarely failed to enthrall, and one has little reason to believe that things will be any different this time round.
Go get your tickets soon before they all sell out!
Play Duration: Approx. 2 hrs (with 15 mins intermission)
Ticket Purchase: SISTIC Link (here)
W!ld Rice Facebook Page: www.facebook.com/wildrice.sg
Gruesome Playground Injuries
(picture courtesy of Pangdemonium Productions)
Event: “Gruesome Playground Injuries” by Pangdemonium Productions
Venue: Esplanade Theatre Studio
Run: 31st Oct – 10th Nov 2013
Bleeding Love
Hot on the heels of the mind-blowing musical “Next to Normal” comes the second Pangdemonium production in barely two months, in the form of the intimate two-person play “Gruesome Playground Injuries”.
How Tracie, Adrian and the rest of the team quite managed to stage it so shortly after the closing of “Next to Normal” is anyone’s guess, and one wonders if Halloween (which coincided with opening night) had anything to do with it.
2013 has indeed been a year of difficult, hard-hitting plays for Pangdemonium, first starting off with “Rabbit Hole”, which dealt with a couple’s grief over their lost son, and then “Next to Normal”, which explored the subject of mental illness in the form of a musical.
“Gruesome Playground Injuries”, written by Rajiv Joseph, follows largely in the same mould, and charts the course of Kayleen (Seong Hui Xuan) and Doug (Alan Wong) from ages 8 to 38, and how their lives intertwine so tragically.
Its chronology is presented in a non-linear fashion, and even though the opening scene starts with the two 8-year-olds first meeting each other in the school nurse’s office, the rest of the play often jumps back and forth in time, with the current year being communicated to the audience via the actors writing it down with chalk at the front of the stage, as well as through the playing of pop songs from that particular year to segue into each scene.
The playwright utilises the the unifying device of physical injury – having the careless and injury-prone Doug pick up a fresh injury every time the two meet in each scene, be it having his face cut up via a biking accident, or getting bruised and battered after engaging in a brawl, or (gasp!) losing an eye due to a fireworks accident.
In fact, in almost every scene the two characters meet precisely because of a new injury Doug picks up, which then serves as the inciting incident for the drama that ensues.
Some may view the device as merely a theatrical gimmick, but upon further examination one soon realises that the physical pain that Doug constantly suffers through injury (often at the expense of Kayleen) essentially serves as a metaphor for a deeper and far more excruciating form of emotional pain that the two of them share, because of the fact that for some reason or other they have never been able to make their relationship work.
They may have been the proverbial soulmates for each other right from the start, but a confluence of factors – some self-inflicted, others purely through bad luck – have conspired to keep them both physically and emotionally apart for much of their lives, and towards the end, when all the hits finally take their toll, they both realise that they’ve been broken beyond repair.
Seong Hui Xuan and Alan Wong put in riveting performances which compel you to sit engaged through the entire 90 minutes.
Hui Xuan excels particularly in the younger scenes, but lacks a certain sense of weariness and disillusionment in her later years which could have made her character even more convincing, while Alan is enthralling as the wide-eyed, devil-may-care character, although slightly overacting in the opening scene as an 8-year-old.
The set design by Philip Engleheart is a masterpiece – a collection of dangerous objects that are hung to create a dynamic looking backdrop, with the objects all having been mentioned in the play at some point or other, such as the hockey stick, the fireworks, and the bicycle.
Ultimately, at the heart of “Gruesome Playground Injuries”, beneath all the blood and gore, lies a tragic story about love lost and missed opportunities.
It makes you realise that not all love stories get to have a happy ending, and this is the true scar that Doug and Kayleen are eventually made to bear, because many a times in life, what hurts deepest are the things that remain unseen.
Atomic Jaya
Event: Atomic Jaya by Checkpoint Theatre
Run: 24 Oct – 1 Nov 2013
Venue: SOTA Drama Theatre
Written & Directed by: Huzir Sulaiman
Cast: Karen Tan & Claire Wong
A Splitting of Atoms
I can’t help but wonder about the symmetry used in the play. The symmetry of the set, down to the 7 by 7 overhead lamps, the symmetry of the costumes worn by the actresses, and finally the way the 2 “mirrored” each other, especially when both played the protagonist, Mary Yuen, in a synchronised manner. I tend to think it was like they were like an atom, but then again are in two, like a splitting of an atom, as was the whole point of nuclear fission and atomic bombs, as was the context of the play.
An updated re-staging, the story tells of Dr. Mary Yuen, a physicist who finally gets a break in using her expertise to create an atomic bomb for Malaysia. Amidst the stereotypical and sometimes silly comrades, she soon has doubts about the purpose of such a bomb despite her “brain is big but life is small” ambitions.
I must say, it was a commendable feat for both actresses to play at least 8 characters between themselves, interchangeably. Except for a few slips in the lines (it was hard work, with so much dialogue going on), each character was easily defined and recognisable by each of their delivery; accents, mannerism and all. Especially hilarious was the Minister/General who gave some of the most “smoky” responses that seemed quite out of point. Then there was the segment with ‘Mr Teng’, where a translation was ‘performed’ from Cantonese to English by the use of their dual personnel in rapid fire sales talk mania.
The only singing portion was hilarious, like some national day song with talks of tourist attractions, and the irony that atomic sites have become as such in other countries.
Plot-wise, it was an entertaining farce where political digs were treated light-heartedly in humorous “incorrectness”. It however, addressed some moral obligations, though in a mild manner, mainly through Mary’s character. We see some decisions are made just for the sake of making them or to just fulfill selfish ambitions, overlooking the consequences. Anyway, everything was an all’s well that ends well ending and everyone was happy with not too much damage done. The only thing though, was maybe because of how similar some of the references could fit into Singapore’s context, which made me occasional confused. Other than that, the show makes for some good humour.
The show runs till 1 Nov and tickets can be bought at SISTIC.
Broadway Beng! Benging You Back to Basics
Event: Broadway Beng! Benging You Back to Basics
Venue: Drama Centre Theatre
Run: 10th – 27th Oct 2013
The Unbearable Lightness of Beng
Has it really been that long since Sebastian Tan’s last full-fledged “Broadway Beng” show?
A quick check on things reveals that the beloved Hokkien-spouting character last made a full-length appearance at the Esplanade Theatre in 2009 under the banner of “Broadway Beng – Jiak Liu Lian”, and this fact was also corroborated by Sebastian himself on stage tonight.
Of course, there was also the brief but all-too-memorable cameo on Dream Academy’s “Crazy Christmas” in 2011 where we were treated to a hilarious Santa-Claus-meets-Broadway-Beng hybrid, but the fact remains that this wildly popular of a stage creation has been away from the stage for far too long.
Which perhaps explains why it was a virtual full house tonight, with tickets for subsequent shows selling out fast even as the show extends its run all the way till 27th Oct.
“Broadway Beng” dominates a niche all on its own and its target audience is fairly well-defined.
It appeals mainly to the middle-aged Singaporean, preferably familiar with the Hokkien dialect, who grew up through the 70’s and 80’s listening to popular Hokkien and Mandarin songs on the radio, and who would love nothing more than to see these old favourites being performed live – up close and personal.
And Sebastian Tan answers the bell beautifully with his enigmatic stage presence and soaring tenor voice, perfectly suited for belting out those old karaoke favourites.
There really isn’t a male voice in local theatre that quite comes close to his in terms of the ability to carry those Hokkien and Mandarin favourites with such flair and clarity.
He’s never really been a “Beng” as much as he has been a charming little down-to-earth, boy-next-door type who happens to be highly-proficient in conversing in Hokkien, and in highly entertaining fashion.
His lines may not be the wittiest, nor his jokes the cleverest, but it is ability to use Hokkien and English so interchangeably to great comic effect, as well as his ability to belt out one nostalgic hit after another at the drop of a hat that makes him such a well-liked stage persona.
He was flanked tonight by a bevy of beautiful actresses in the form of Denise Tan, Jacqueline Pereira, Judee Tan, Mina Ellen Kaye and Siti Khalijah – all talented stage performers in their own right.
And it was these ladies’ strong vocal abilities which allowed musical director Elaine Chan to pull off some of the more ambitious vocal arrangements, which worked out beautifully, and on the whole, the quality of vocal delivery and execution of harmonies by the entire cast was excellent.
As with the recent “Hossan Leong Show”, nostalgia was once again a dominant theme, with Broadway Beng revisiting a lot of the 70’s and 80’s.
There was an entire segment on the hit musical “Grease”, which would please fans of the musical no end, and there was also a segment on growing up a Centrepoint Kid while hanging out at Rumours disco, complete with a dance segment to signature 80’s tunes like “Domino Dancing” and “Brother Louie”.
And as if the proceedings weren’t entertaining enough, the show rolled out its ace in the hole midway through – the 8-year-old Ian Lee, an unbearably cute young boy with acting and singing chops that inevitably induced many an “awww” throughout the audience.
And in closing, Sebastian once again leaves the audience with the customary “Ai Pia Cia Eh Yia”, which has almost become somewhat of a rousing anthem at his shows.
It doesn’t matter how many times we’ve heard it being performed – it always hits right to the heart every time he delivers it.
Which is probably what the whole “Broadway Beng” experience is about – the idea of familiarity and intimacy, the sense that you have someone who has lived his whole life in Singapore, who has gone through all the experiences the average Singaporean has gone through, who totally speaks our lingo (and some!), and who isn’t afraid to share his most candid feelings and memories with the audience.
A lot may have changed in Singapore since 2009, but it’s comforting to know that our beloved Broadway Beng is still the same old effervescent, irreverent, heartland boy that we’ve always known him to be and loved him for.
And in an environment where nothing really stays the same for long, it’s nice to know that some things haven’t changed.
Alfian Sa’at’s “Sex. Violence. Blood. Gore”
Event: “Sex. Violence. Blood. Gore” by Alfian Sa’at (presented by Red Pill Productions)
Venue: Blackbox @ Goodman Arts Centre
Run: 5th & 6th Oct 2013
Bringing Sexy Back
I must admit I don’t yet know too much about Red Pill Productions as it is a rather new theatre company, but what a way to kick things off by staging Alfian Sa’at’s “Sex. Violence. Blood. Gore”!
The play, which is essentially a collection of short scenes, was first written and performed in 1999 when Alfian was still only 22, and was performed under highly secretive circumstances.
It has also been staged in Melbourne as recently as last year by Australian theatre company MKA.
The version we got to see on Saturday consisted of five disparate scenes – one about a sexually-repressed Georgraphy teacher and her nephews, one about a pair of upper crust British colonial ladies and their discreet affairs with their maidservants, one about a pair of teens and a chance encounter with a pair of transvestites on an MRT train, one about a pair of Japanese WWII soldiers and their Singapore boy toy, and the last one about the life and times of Annabel Chong.
Apart from the obvious common refrain of sex, the scenes mostly attempt to bring out the issue of sexual repression in our conservative Singapore society, be it pertaining to different constructs such as gender, nationality, race, or social status.
There is a pervading sense of black humour through the play coupled with a heavy dose of the macabre, which gives one a constant unsettled feeling.
At times it even falls into the absurd.
The play is not an easy one to pull off, and the cast puts in a valiant attempt to capture the nuances required for the play to work.
The costumes – essentially white leotards with little red crosses plastered at strategic anatomic locations – were slightly discomforting to see (maybe that was the whole point), although I thought the sound design worked brilliantly throughout the play.
I thought the last segment on Annabel Chong, or Annabel Lee rather (based on what the actor said), didn’t quite work for me as I didn’t quite make sense of the ending.
I’m not sure if this was an edited or abridged version of the original text, but in this particular performance, I was left scratching my head at the way it ended.
Nonetheless, despite the relative rawness and lack of polish in the production, it is rather heartening to see Red Pill Productions attempt to take on this challenging Alfian Sa’at piece as their first work.
This was certainly no cakewalk.
Here’s looking forward to greater things in store from them.
Coming Soon: Alfian Sa’at’s “Sex. Violence. Blood. Gore”
Event: “Sex. Violence. Blood. Gore” by Alfian Sa’at (presented by Red Pill Productions)
Venue: Blackbox @ Goodman Arts Centre
Run: 5th & 6th Oct 2013
Red Pill Productions is a brand new independent theatre company, and for its first production, it will present Alfian Sa’at’s “Sex. Violence. Blood. Gore” this weekend.
“Sex. Violence. Blood. Gore” is a collection of engaging, absorbing and highly amusing stories addressing issues of sexuality, desire and gender construction.
From a geography teacher at the height of her sexual awakening to two transvestites in love, “Sex. Violence. Blood. Gore” dives into the lives of no-so-ordinary Singaporeans as they lay bare their deepest and raunchiest secrets.
The play is directed by Mark Ng and features Victoria Chen, Constance Lim, Chia Wei, Sanjay Shashikant Shivlal, Klaryssa Marie, Lala Gwen Thomas, Chesna Goh, Perry Shen and Md Qqyyum B N.
Show Dates & Times: 5th & 6th Oct (3pm & 8pm)
Ticket Price: $18 each
Ticket Purchase: redpillproductions.eventbrite.sg
Event Facebook Page: www.facebook.com/events/369208556539181
“Next to Normal” by Pangedemonium Productions
(picture courtesy of Pangdemonium Productions)
Event: “Next to Normal” by Pangdemonium Productions
Venue: Drama Centre Theatre
Run: 5th – 22nd Sept 2013
Livin’ On The Edge
From the onset your mind starts to play tricks on you: Didn’t I recently see Adrian Pang on stage in a family drama playing the role of an anguished Dad struggling to hold the family together because of a son? When was the last time I watched a rather dark, edgy, rock musical featuring both Julia Abueva and Nathan Hartono?
And from then onwards, it doesn’t get any easier on the brain.
Lovers of the musical theatre form should be warned – this is no ordinary musical.
This isn’t your typical easy-to-swallow, watch-us-sing-dance-act-and-we-all-go-home-happy kind of musical extravaganza.
It isn’t your Rodgers & Hammerstein, nor Disney spectacular, nor even your Sondheim.
There are no big glitzy ensemble routines, no comedy numbers, and only a few ballads.
There are no typical protagonists with big, burning, overarching ambitions to fulfill.
The cast size is essentially just six, which is miniscule for a full-length Broadway musical.
The musical deals with a woman (Diana, played by Sally Ann Triplett) who battles bipolar disorder, and how her husband Dan (played by Adrian Pang) struggles to deal with her condition whilst trying to keep the family intact – hardly the stuff you’d imagine hit Broadway musicals are made of.
But nonetheless, the credentials of this musical – with book and lyrics by Brian Yorkey and music by Tom Kitt – are not to be scoffed at, having won no less than a Pulitzer Prize for Drama in 2010, being only just the eighth musical in history to do so.
“Next to Normal” is probably going to be one of the most difficult musicals you’re ever going take in, because of how it so deftly draws you into the mind of Diana, making you experience the kind of relentless paranoia she goes through ever so vividly.
Very little of the book is actually spoken, and you find yourself constantly assaulted with a barrage of songs which come at you fast and furious.
The score is a mixed bag of varying styles, from rock to pop to classical-tinged, with heavy use of unresolved chords and awkward rhythms specially designed to keep the listener on edge and in a constant state of disequilibrium.
What truly elevates this Pangdemonium production is the sheer quality of the entire cast.
There is no room for hiding in such a painfully raw and intense play like this, and every one of the cast stands up and answers the bell beautifully.
Sally Ann Triplett plays the immensely complex role of Diana with all the vigour and subtlety you could ask for (you wonder how on earth she summons the reserves to play the role night in, night out), while Adrian Pang is in fine form once again as the husband/father who tries to rein in the ties that bind, although his singing was at times overwhelmed by the music, especially in the louder rock numbers.
Nonetheless, he displays a fine singing voice with admirable range, and excels particularly in the more tender ballads.
Nathan Hartono plays the young, exuberant, angelic son Gabe who flits and floats effortlessly across the stage.
It does seem like the role of Gabe could have perhaps been played with a slightly darker and more sinister tone to it, possibly adding further depth and dimension to this play, but that was not apparent in this production.
Julia Abueva is once again impeccable with her pristine vocals, while Linden Furnell, who plays her love interest Henry, makes a very compatible pairing with her.
“Next to Normal” is a musical that truly blows the mind and shatters the notion of whatever you thought could or could not be done on a musical theatre stage.
It certainly isn’t easy viewing by any stretch, but it demonstrates the supreme power of theatre in being able to challenge and provoke you into changing the way you view a particular issue, which in this case is that of mental illness sufferers.
It may tear your heart out and wring you dry, but “Next to Normal” is definitely a show you’d want to catch if you’re in the mood to be truly challenged by musical theatre.
But if not…then I hear “Hairspray” is playing at the Esplanade Theatre end of this month.
Ticket Giveaway: “The Trojan Women” by SRT’s The Young Co.
Event: “The Trojan Women” by SRT’s The Young Co.
Venue: DBS Arts Centre – Home of SRT
Run: 20th – 21st Sept 2013
Free Tickets To Be Given Away!
Next month, SRT’s The Young Co. will present the modern adaptation of “The Trojan Women”, taking this classic Greek tragedy and bringing it up to date in a frightening and violent portrayal of the women of Troy as they await their fate amidst a wasteland of carnage.
The kind folks at the SRT have been so generous as to give away 2 pairs of tickets to go catch this incredibly powerful piece of theatre.
To win a pair, all you have to do is leave a comment below answering the following:
“Who was the Greek playwright who wrote ‘The Trojan Women’?”
The first 2 correct entries will receive a pair of free tickets each for the 20th September 8pm show at the DBS Arts Centre.
All winners will be notified via email.
SISTIC Link (here).
Buttons In The Bread 