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Jonathan, David & Me

October 21, 2015

JonathanDavidMe1Event: “Jonathan, David & Me” by Our Company
Venue: Drama Centre Black Box
Run: 14th – 18th Oct ’15

The Bro Code

Our Company tackles the oft-overlooked theme of male friendships in this intimate little play involving three male friends – David (Jamie Shawn Tan), Mervyn (KS Yeo) and Jonathan (Vignesh Singh).

It covers their journey through life from their carefree JC days taking part in the annual talentime contest, to the various stages of their relationships more than a decade on.

David is the boisterous, affable chap who eventually cheats on his girlfriend of more than ten years with a young intern, while Jonathan is the quiet, sensitive one who remains single most of his young adult life, all while harbouring unrequited feelings for David’s girlfriend all this time.

Mervyn is the most level-headed of the three, often playing peacemaker to the other two, but who is not exempt from his own share of relationship woes.

The plot is a fairly predictable one with hardly any surprises, although playwright-director Luke Kwek does a good job embedding two tales of epic male friendships into the fabric of the storyline – one of the biblical story of David and Jonathan, and the other of the ancient Mesopotamian account of Gilgamesh and Enkidu.

The banter in the play, ridden with expletives and coarse allusions to sex, came across as realistic and believable, and is expected of the kind of dialogue heard when a bunch of pals come together for a good time.

There is also the illustration of brotherly tough love, in how Jonathan and Mervyn chastise David for his cheating ways and plead with him to end his affair.

While the eagerness of the three actors was clearly palpable, it was KS Yeo who is probably the most proficient of the three, while Jamie Shawn Tan seemed unable to emote rage convincingly enough, and Vignesh seemed a bit too lightweight in his role.

Nonetheless, the beauty in the play is that it does take you on a full dramatic arc through the friendship of all three buddies, testing the limits of their relationships and stretching things to breaking point, before finally coming to a somewhat bittersweet resolution.

Male friendships are often a funny thing, and “Jonathan, David & Me” does an admirable job in bringing out the complexities and intricacies beneath what often seems like a fairly uncomplicated veneer amongst men.

It makes you take stock of your own personal friendships, and appreciate the fact that when you’re at your lowest, your best friends are gonna be the ones that save you.


October 19, 2015

ChinglishPic1(Picture courtesy of Pangdemonium!)

Event: “Chinglish” presented by Pangdemonium
Venue: Drama Centre Theatre
Run: 9th – 25th Oct 2015

A Closer Look, Will Funny

Although “Chinglish” is the final production in Pangdemonium’s “Transformation Trilogy” 2015 season, it certainly represents a first for the company in a number of respects.

It’s the first bilingual play they’ve ever put up, it features TV personality Guo Liang in his theatrical debut, and it’s probably also the first time you’ll see Matt Grey speaking Mandarin on stage (and a whole lot of it at that!).

“Chinglish” is a 2011 play written by David Henry Hwang, who famously wrote the Tony Award-winning play “M. Butterfly”, and tells of the adventures of an American sign-making businessman Daniel Cavanaugh (Daniel Jenkins) as he attempts to forge deals in the Far East, knowing next to nothing of the Chinese language, and much less so of the mystical concept of “guanxi”.

Along the way he teams up with a “consultant” (Matt Grey) – an Englishman who has been living in China for many years and has an admirable grasp of the Chinese language – to advise him accordingly and help him pull the necessary strings in order to secure a favourable business appointment with the Minister of Culture (Adrian Pang).

There is also the struggling translator aide Audrey Luo, who has a penchant for making hilarious literal translations from Chinese to English and vice versa, thus providing the bulk of the show’s laughs, as well as the sultry Vice Minister (Oon Shu An), a key ally of Daniel who eventually finds herself tangled in a prickly web of lust with him.

The charm of the show lies in the premise of having a Westerner thrown right in the thick of a fairly small, insignificant province in China, and seeing him fumble his way around the completely unfamiliar language and culture of the land, as well as the many “lost in translation” jokes that the playwright cleverly constructs when the characters attempt to translate from one language to the other.

Incidentally, it is especially in a country like Singapore, where most people are fairly familiar with both English and Chinese, that this play works particularly well, as the audience is able to grasp the subtlety in the phrases of both languages and laugh at the occasional absurdity of literal translations.

Pangdemonium has assembled yet another particularly stellar cast for this production, with Daniel Jenkins and Oon Shu An ably carrying the bulk of the load, while Matt Grey blows everyone’s socks off with the considerable fluency of his Mandarin, what with the many lines he was tasked with.

Audrey Luo was perhaps underused playing the various translator aides which mainly served as comic relief, but boy did she milk the laughs whenever she came on.

Adrian Pang does the best with the rather thinly fleshed-out role he was given, while one wonders why it was necessary to cast Guo Liang in this production.

Not that Guo Liang didn’t do a good job – he played Judge Xu Geming as well as anyone could have asked for – but it just puzzles me why a TV personality was specially chosen to play this particular role in the play.

The set design by Eucien Chia – probably one of the more beautiful ones I’ve seen in awhile – was both a revolving platform as well as a tastefully-designed backdrop which suggests the shape of a Chinese pagoda.

Of the many backdrops I’ve seen, this one is easily one of the most memorable.

“Chinglish” attempts to bring out the complexities of doing business in China, with the potential pitfalls that come with it, and while it it succeeds in creating moments of entertaining comedy, it seldom goes beneath the surface of what seems to resemble a light-hearted farce.

The pace of the play does tend to sag at times, especially in the second act, and at times you wonder where all this is heading.

Nonetheless, despite my quibbles with the plodding script, “Chinglish” remains a fairly entertaining romp through the sometimes wild and zany world that is business in China.

It guarantees a laugh, and it makes you smile, but like a decently-translated phrase, it sometimes fails to go beyond the superficial and articulate its deeper meaning and subtlety.

Coming Soon: “The Emperor’s New Clothes” by W!ld Rice

October 4, 2015

EmperorsNewClothes1Event: “The Emperor’s New Clothes” presented by W!ld Rice
Venue: Drama Centre Theatre
Run: 20th Nov – 12th Dec 2015

Don’t Miss This Year’s W!ld Rice Pantomime!

Once upon a time, in a kingdom not so far away, ruled a vain and pompous Emperor who was crazy about his clothes, himself and little else.

So obsessed with fashion was he that he decreed that the 50th anniversary of his reign be celebrated with the most extravagant National Dress Parade of all time.

But, as he primped and preened, he neglected his music-loving citizens, who could only get his attention by complimenting him on his appearance.

One day, two cheeky tailors discover a dark secret in the Emperor’s palace and decide to teach him a lesson.

Presenting the Emperor with an eye-popping ensemble literally woven out of thin air, they convince him that only the smartest and most competent people in the land can see it.

What can be done to stop the nation’s biggest wardrobe malfunction?

Why won’t the Emperor’s courtiers and the aristocracy speak up? Is there anyone who’s brave enough to tell the naked truth?

Following its smash-hit production of “Monkey Goes West”, W!ld Rice puts a Singaporean spin on Hans Christian Andersen’s timeless tale about the ultimate fashion victim.

Directed by Pam Oei, “The Emperor’s New Clothes” is a brand-new musical with a razor-sharp script by Joel Tan and a sparkling score by Julian Wong.

Its stellar cast includes Lim Kay Siu as the Emperor, Benjamin Kheng of The Sam Willows, Singapore Idol’s Sezairi and Siti Khalijah Zainal – all playing musical instruments live on stage!

Fun and laughter never go out of fashion.

Don’t miss the most hilarious, heartwarming musical of the holiday season!

Show Duration: Approx. 2hrs (with 15min interval)
Ticket Purchase: SISTIC Link (here)
W!ld Rice Website:
W!ld Rice Facebook Page:

Coming Soon: Beauty World

October 4, 2015

BeautyWorld1Event: Beauty World
Venue: Victoria Theatre
Run: 13th Nov – 12th Dec 2015

Official synopsis:

“This November, legendary duo Dick Lee and Michael Chiang reunite once again for Singapore’s Number One musical, the iconic Beauty World!

This much-beloved musical, which has seen multiple stagings since its debut at the Singapore Arts Festival in 1988, traces the adventures of a small-town girl from Batu Pahat who sets out on a quest to find her father in Singapore.

With a mysterious jade pendant as her only clue, she winds up in a dubious cabaret, where she learns some heartbreaking truths about love and life. 

This revival, which features Michael Chiang’s revised script from 2008, will be directed for the first time by Beauty World co-creator and composer Dick Lee.

The production will bring onstage an exciting ensemble of formidable talents from theatre and television. 

Top TV star Jeanette Aw provides sensational sizzle as Lulu, the beautiful but vindictive cabaret queen, while Malaysian talent Cheryl Tan brings wide-eyed charm to the role of Ivy Chan, our innocent protagonist.

Adding her touch of class to the mix is seasoned actress Janice Koh, appearing in her first musical as the wise and winsome Mummy.”

Show Duration: Approx. 2hr 30mins (with 15min interval)
Ticket Purchase: SISTIC Link (here)

Coming Soon: “Mind Map of Love” by Skinned Knee Productions

October 3, 2015

MindMapOfLove1Event: “Mind Map of Love” by Skinned Knee Productions
Venue: ZOTT’S True Alps, 97 Amoy Street, Singapore 069917
Run: 4th – 7th & 11th – 14th Nov 2015

A Gourmet, Theatrical, Choose Your Own Adventure – For Grownups Only!

Two people fall in love… the possibilities are endless…

Imagine a night where you go for dinner, in the mood for some fine food and good wine, with your closest friends.

You talk, share the day, discuss the week, highlight insignificant nonsense and the moments that mattered.

And they begin to tell you their story.

It is an incredible story of love, with a twist…you get to choose what happens next!

Following the success of “The Woman Who Cooked her Husband” (2013), which had two sell-out runs at the Fine Palate Café, “Mind Map of Love” will also be staged in a restaurant – ZOTT’S True Alps, a unique fine dining establishment located on 97 Amoy Street, whereby the cuisine for the evening will be designed to suit the show – creating a unique all-encompassing gastronomical theatre experience.

“Mind Map of Love” is an original play, written by Marcia Vanderstraaten based on the book of the same title by Christian Zott.

It stars well-established local actors Brendon Fernandez and Elizabeth Lazan along side relative newcomers Rosie Mcgowan and Amanda Tee.

It’s a perfect night out for foodies, arty types and those seeking something new.

(Advisory: This show contains adult language and themes and sexual content.)

Ticket Price: S$160 + S$6.70 Booking Fee
Ticket Purchase: Link (here)
Skinned Knee Productions Website:
Skinned Knee Productions Facebook Page:

Chestnuts 50: The UnbelYeevable Jubilee Edition

September 21, 2015

Chestnuts50-1(Picture from Chestnuts Facebook Page)

Event: Chestnuts 50: The UnbelYeevable Jubilee Edition
Venue: Drama Centre Theatre
Run: 17th – 27th Sept 2015

Salty Nuts

Before we even start on anything, it is imperative to point out that today’s Life! reports that a good 40 minutes of this edition of “Chestnuts” was cut from the script by the Media Development Authority (MDA) because of “problematic segments” in the show which could not be processed in time.

Playwright-Director Jonathan Lim and his team were told just hours before the opening show last week to remove the vital 40-minute segment inspired by Amos Yee – of which a significant portion of the show is built on – or risk having their arts entertainment licence revoked.

In fact, a lot of the pre-show publicity seems to suggest that the topic of Amos Yee would feature prominently in the show (the title itself carries his surname), and it is to the team’s credit that they have bravely trudged on in spite of such a massive bombshell being thrown at them just before opening night.

It is easily the worst nightmare of any theatre company, but then again, such occurrences aren’t exactly unfamiliar in the local theatre scene, especially when you consider the Dim Sum Dollies only received their performance licence just three days before their show was due to open in December last year, and similarly, W!ld Rice’s “Hotel” only received its license three days before the show opened at the Singapore International Festival of Arts just last month.

Therefore, one has to view this edition of “Chestnuts” in light of the considerable constraints they have had to work around.

It’s a bit like watching the New England Patriots play without Tom Brady, or the Cleveland Cavaliers play without Lebron.

Yes, the show still goes on, and it might even make for a very good game, but at the back of your mind you know that you aren’t exactly witnessing full potential, and that it could have been that much better.

The “Chestnuts” franchise has been somewhat of an institution by now, building for itself a sizeable following from its humble beginnings way back in 1996 till today.

In the past it used to be staged more frequently (usually once a year), but in the past few years it seems like the show gets staged biennially, with the last show staged in 2013, and the previous one staged in 2011.

Nonetheless, what the show lacks in frequency, it certainly makes up for in scale, with the show being staged nowadays in the Drama Centre Theatre, with larger and more elaborate sets.

The usual stalwarts Jonathan Lim, Judee Tan and Dwayne Lau are still there, while newcomers Joshua Lim and Faizal Abdullah make themselves completely at home in this 2.5 hour madcap comedy sketch show.

The main theme is, of course, SG50 and almost every skit pokes fun at all things Singapore in the irreverent, caustic and wacky way in which only “Chestnuts” can.

There is no surprise to the “Chestnuts” formula really, and it delivers all that we’ve come to expect from it – biting social commentary, copious amounts of double entendres, jabs at local newsmakers, quick takes on the past year in local theatre, spoofs of recently-staged musicals, and clever song mash-ups.

I’ve said this numerous times and I’ll say it again – there is no doubting Jonathan Lim’s ability as one of the premier lyricists in local theatre.

His ability to rewrite lyrics of well-known songs and give them whole new meanings while both making them utterly hilarious and yet still rhyme perfectly is the stuff of legends.

A particularly good example is the mash-up of the two Dick Lee NDP songs “Home” and “Our Singapore”, which poked fun at the songwriter’s writing process, and the particularly poignant a cappella rendition of Anna Kendrick’s “Cups (When I’m Gone)” toward the end of the show, in memory of our late Mr Lee Kuan Yew.

The show skewered two recent major musicals – “The LKY Musical” in particular, and also “Singapura: The Musical”, which played at the Capitol Theatre a few months ago.

The “LKY Musical” spoof was particularly spot on, and the team was particularly relentless in its teasing of Sharon Au, who played Kwa Geok Choo, due to her stiff acting and limited singing ability.

Another large segment was the reimagined scene where a certain megachurch magician pastor by the surname of Khong meets and fraternises with fellow megachurch leaders Kong and his wife Ho.

While this was probably the most visually dazzling segment of the show, with snazzy effects and Jonathan Lim performing some actual sleight of hand on stage, it seemed to dwell on too long and outstay its welcome, although I thoroughly enjoyed the way the actors all mimicked the three pastors’ accents so perfectly.

Similarly, the segment which revisited this year’s “Esplanade The Studios: Fifty” season by reenacting all fifty of the various playwrights’ favourite lines from their plays one after another was truly an eye-opener, although inevitably a bit unwieldy.

I enjoyed catching a brief glimpse of each of the plays, many of which I had not seen before, but as the cast played them all straight I suspect the entire segment might have been a bit too lengthy and inaccessible for some in the audience.

Performance wise, the cast can hardly be faulted for their infectious energy and uncanny comedic timing.

Joshua Lim fits wonderfully right into the show, being both a versatile comedian and a strong singer in his own right.

Ultimately, “Chestnuts 50: The UnbelYeevable Jubilee Edition” delivers its fair share of laughs and giggles, with jokes both of the laugh-out-loud as well as the nudge-nudge-wink-wink variety which may or may not fly over the heads of some, although you can’t help but sense that there is that something missing about this particular edition.

It’s hard to put a finger on it – and it is anyone’s guess if it’s due to the Amos Yee segment being taken out – but this edition didn’t seem to hit the absolute comedic highs which other editions seemed to have done before.

The jokes, spoofs and lyric rewrites are entertaining and perfectly serviceable, and while you’d walk out of the theatre with a smile on your face, it’s hard to exactly pin down a particular moment which truly drove you over the edge.

But then again, as already mentioned right at the start of this piece, the team was playing with a short stack and was unable to roll out its trump card, and thus we are unfortunately unable to assess the show in all its originally-intended glory.

And if we were to revisit the team sports analogy, we can probably say that despite not being able to field its star player, the show still manages to eke out a win, but only just.

Coming Soon: “Chinglish” by Pangdemonium

September 14, 2015

Chinglish1Event: “Chinglish” presented by Pangdemonium
Venue: Drama Centre Theatre
Run: 9th – 25th Oct 2015

To round off its 2015 “Transformation Trilogy” season, Pangdemonium presents its first-ever bilingual play, David Henry Hwang’s “Chinglish” – a thrilling, topical and timely tale of an American businessman’s adventures when he travels to China to seal a lucrative deal.

The comedy runs from 9th to 25th October at the Drama Centre Theatre.

Much like Dorothy in Oz, the disoriented hero Daniel Cavanaugh (played by Daniel Jenkins), soon realizes that more than language gets lost in translation, as he meets a colourful menagerie of characters in his journey, each one a crouching tiger with a hidden agenda: a gorgeous femme fatale, a three-faced politician, and a trio of terrifying translators.

Lost in the world of a different language and culture, he falls helplessly into intrigue with bewildering business partners, and hopelessly into bed with bewitching sleeping partners.

Performed in English and Mandarin, “Chinglish” stars veterans Daniel Jenkins and Adrian Pang; rising star Oon Shu An; MediaCorp Artiste Guo Liang, and ST Life! Theatre Award winners Audrey Luo and Matt Grey.

Written by Tony Award-winning David Henry Hwang (“M Butterfly”, “Yellowface”), “Chinglish” is a wildly funny comedy of errors and a cunningly astute comedy of manners; and has been hailed as “one of the funniest plays in memory” by Chicago Sun-Times.

Play Duration: Approx. 2hrs (including 15mins interval)
Ticket Purchase: SISTIC Link (here)
Pangdemonium Website:
Pangdemonium Facebook Page:

“Pull Up” by One Man Riot Productions

September 9, 2015

PullUp1Event: “Pull Up” by One Man Riot Productions
Venue: Goodman Arts Centre Black Box
Run: 2nd – 5th Sept 2015

The Danger Zone

The tragic and mysterious events of last year’s MH370 disappearance still continue to puzzle laypersons and civil aviation experts alike, and it is on this very topic that One Man Riot has chosen to stage their debut production.

Written by playwright Thomas Lim, and directed by both Thomas and Nur Khairina, the play is set in the humble confines of the Goodman Arts Centre Black Box.

The company is, after all, a fairly new one with limited resources, and even in its programme booklet it acknowledges that it is “not one of the big boys”, and it “probably will never have big budgets and expensive sets”.

Nonetheless, the production team makes the most of what it has, and you can see that extra effort was made to create as authentic an experience as possible, from the delightful show tickets resembling boarding passes, the well printed programme booklets, the “air steward” and “air stewardess” ushering the audience into their seats, and the simple set of two rows of small lights on the floor which immediately remind you of an airport runway.

The term “pull up” in aviation parlance (I had to look this up) refers to an abort of a landing attempt at a very low altitude, close to the runway, while the play “Pull Up” tells the story of commercial pilot Captain Lim Zhi Wei (Milon Goh) and the events which led to his decision to crash a plane full of passengers.

There is also Captain Teo Wei Xuan (Zenda Tan), a former cadet trainee with Captain Lim back in flight school, who no longer flies but has to struggle to handle the media from the ground as the airline’s main spokesperson.

To make matters worse for her, Captain Lim actually makes a final phonecall to her to say his last words just before he crashes the plane, and this fact is uncovered by Investigator Chong (Mitchell Fang), whose job is to make sense of the entire tragedy.

It is later revealed that Captain Lim, Captain Teo and another cadet trainee by the name of Captain Goh Wee Keong (Wee Xuan Yi) used to be buddies in flight school, but an accident on their final training exercise together led to Captain Goh crashing his plane fatally.

This death hit Captain Lim particularly hard, and he has never been able to come to terms with the death of his close buddy.

Playwright Thomas Lim shows great familiarity with the intricacies and terminology of aviation, as is evident from the very realistic cockpit scenes depicting taking off and cruising at altitude, as well as the scene depicting the final flying exercise between the three cadets.

The production team also employs clever use of replica models to recreate the flight paths of the three planes during the final exercise.

While the play never makes any explicit mention of Malaysia Airlines (it creates a fictitious airline called “Straits Air” instead), it is fairly apparent to anyone viewing it that the entire story is a nod to what happened with MH370 last year, and offers a possible answer to how and why things might have occurred.

Mitchell Fang is particularly outstanding as the tenacious investigator with a sensitive side, while Zenda Tan represents the emotional core of the play in trying to bravely soldier on with her professional duty, yet both carrying a torch for Captain Lim all these years and knowing the full extent of his trauma at having had to deal with the loss of his best friend.

What started out as 15-minute play for a secondary school has eventually morphed into a full-length play, and it’s truly heartening to see One Man Riot come up with such an enlightening piece as their debut production.

It is never easy to put up a play of any scale, and the team can take great encouragement to see their debut piece as well as their theatrical aspirations finally take flight.

December Rains 《雨季》

September 8, 2015

DecemberRains1(Picture courtesy of Toy Factory Productions)

Event: “December Rains” 《雨季》 by Toy Factory Productions
Venue: Esplanade Theatre
Run: 28th Aug – 6th Sept ’15

Nothing Lasts Forever, Even Cold December Rain

It is Toy Factory’s 25th anniversary, and what better way to commemorate this momentous occasion than to restage the ever-popular Mandarin musical “December Rains”.

“December Rains”, Singapore’s first original Mandarin book musical, was written in 1996 by esteemed songwriters Liang Wern Fook and Jimmy Ye, with theatre director Alec Tok and producer James Toh playing a part in its creation as well.

It is quite easily the crown jewel in the Toy Factory oeuvre, and might be considered one of the most significant works in local Mandarin musical theatre.

The 2010 revival was particularly notable as it starred superstar Kit Chan in the leading role along with George Chan and Jeffrey Low, which in some ways serves as baggage for this year’s production as it valiantly attempts to fend off the inevitable comparisons with that particularly stellar cast.

It’s a bit like having to live up to the lofty standards set by Idina Menzel and Kristin Chenoweth as original Broadway cast members of the musical “Wicked”, and thus great expectations have been placed on the shoulders of Chriz Tong (Li Qing), Andie Chen (Ying Xiong) and Sugie Phua (Ming Li) to carry the show.

The plot of “December Rains” is as predictable and melodramatic as it gets, which somehow works perfectly well for a Mandarin musical of such an epic scale.

There is the tale of star-crossed lovers (Ying Xiong and Li Qing) who are estranged for decades due to a misunderstanding orchestrated by a common friend (Ming Li), who happens to carry a torch for Li Qing all his life.

To make things worse, Li Qing gets pregnant with Ying Xiong’s baby at the same time Ying Xiong leaves her to go back to China, and Ying Xiong is never aware of that fact because Ming Li conceals the letter which he was supposed to pass to Ying Xiong, which would have given him the full picture and prevented him from leaving for China.

Ming Li keeps this extremely burdensome secret for years, and it is only decades later when Ying Xiong returns to Singapore and serendipitously bumps into Li Qing again that he finally realises the precious years they both had lost out on.

It is Sugie Phua who stands out for me, portraying the heartbroken Li Qing who is content to stand on the sidelines all his life watching Li Qing get over the one true love of her life, and selflessly being a surrogate father to her daughter Meng Yu in the absence of the biological father Ying Xiong.

Sugie has always been a strong singer with great vocal range, and this performance was no exception.

His sensitive portrayal of the tormented Li Qing was the emotional glue which held the entire show together.

While Chriz Tong sings her songs competently, she lacked the requisite charm and allure especially in the first act as a sweet, innocent schoolgirl who falls in love with the dashing Ying Xiong, while Andie Chen did pretty well in the first act but seemed to lose some considerable sense of charisma in the second.

And as such, the couple’s onstage chemistry could be deemed as passable at best, whereas one would have hoped for more sizzle.

Timothy Wan, who plays Meng Yu’s love interest Yang Guang, was another notable performer with his easy-going charm and pleasant singing voice.

It is in the musical’s magnificent score where “December Rains” truly stamps its class as one of the great musical scores of Singapore theatre.

The delicate, effortless melodies of Liang Wern Fook just always seem to flow like water – which incidentally is the predominant metaphor for the show, from the ambient sounds to the pastel watercolour imprints on the cast’s clothes – while his lyrics always have a way of saying so much with so little, and often inducing a tear or two from your eyes at the same time.

It’s hard to sit through the entire musical and not be somewhat moved by the subtle beauty in the maestro’s sublime lyrics.

There is no denying the cultural and artistic significance of “December Rains”, which continues to enthrall fans of Mandarin theatre with each new staging.

It’s right up there with “Beauty World” in terms of theatrical importance, and promises to take you on an epic journey like few other musicals can.

Something tells me this won’t be the last time Toy Factory stages “December Rains”.

We shall see.

Coming Soon: “Jonathan, David & Me” by Our Company

September 8, 2015


Event: “Jonathan, David & Me” by Our Company
Venue: Drama Centre Black Box
Run: 14th – 18th Oct ’15

Our Company returns this year and presents its first-ever original devised work “Jonathan, David & Me”, a play that puts the spotlight on the depths, dynamics, and limits of friendship.

It celebrates and examines the resilience and honour in platonic friendships between Singaporean males, and in doing so contemplates wider aspects of friendship which have been lost or forgotten.

Written and directed by its very own Artistic Director Luke Kwek, the show’s material was developed through a series of improvisation and devising workshops explored by Our Company’s team members together with other actor-collaborators.

Stars Jamie Shawn Tan, KS Yeo and Vignesh Singh.

Show Duration: Approx. 80mins
Ticket Purchase: TicketMash Link (here)
Our Company Website:
Our Company Facebook Page:

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