Events
COMMISSION CONTINUA
Noma Yini
(South Africa)
WORLD Premiere
Book NowBright Maluleke works for the government. He copies and stores important papers. Tony Bonani Miyambo, from the show Kafka's Ape, plays Bright. Bright tries hard to focus on his tasks. But, it is hard to ignore what the papers say. They talk about big and terrible events in South Africa’s history. Bright starts sharing his frustration about how hard it is for South Africa to find real change and healing, after years of Black and non-White people being treated unfairly and given fewer rights than White people. The show uses a simple setup. It only has a photocopier, a microphone, and a loop station.
Artist Statement
Important records, like investigation reports, are like maps. They show different parts of a bigger story and connect them. The show, Commission Continua, mixes sounds and touch. It shows us what is missing from these records i.e., our personal understanding of history. The sounds show how some physical things fade over time.
It also explores big issues, like:
- what kind of control we have over our lives
- what lasts forever
- how ideas change when we share them
- who owns the past
- What the real truth is
Commission Continua is a powerful and affecting production. Miyambo succeeds in delivering a complex concept with care.
— Nkgopoleng Moloi, The Critter
Bright Maluleke—played by Tony Bonani Miyambo (Kafka’s Ape)—is an employee who copies and archives official documents from the commissions. He does his best just to stick to his brief and ignore the content of the files—but this proves difficult when faced with all these pages giving an account of the most critical and catastrophic moments in South Africa’s history. In the frugal setting of a photocopier, a microphone, and a loop station, he begins to give vent to his annoyance with South African society’s struggle for real change and reconciliation.
Bonani Miyambo is terrific and deservedly gets one of the strongest ovations of the night
— Teresa Guerreiro, Culture Whisper
a devastating one-hander that emphasises how the culpability for historical and recent crimes perpetrated against the South African people has become buried under mountains of paperwork.
— Chris Thurman, Business Live
There will be a dialogue with the artists after each performance, with speech to text interpretation available upon request for the dialogue on 18 January 2025. Please email your request to info@singaporefringe.com by 6 December 2024.
Artist Statement
In this production we consider how archives such as commissions of inquiry function as a map: tracing specific features of a broader landscape of phenomena and putting them in relation to each other. Commission Continua brings a collision of the tactile and the sonic where performance counters that which is absent in the paper by reinforcing a connection to historical memory and works as a sonic hypertext to analog ephemera, and how issues of subject agency, immortality, translation, ownership, and truth are thrown into bold relief.
Date & Duration
17 to 18 January 2025, 8pm
60 minutes with no intermission
Location
Esplanade Theatre Studio
Price
$38
*20% DISCOUNT FOR STUDENTS, NSF, SENIOR CITIZENS AND PWD CARDHOLDERS
*10% discount for Esplanade&Me members (limited tickets). Log in to your Esplanade&ME member account to access the promo code.
Accessibility Features
Open captions in English for all shows
Rating
Advisory (Some Mature Content)
DANCING WITH THE GHOST OF MY CHILD
Noor Effendy Ibrahim, Ruby Jayaseelan & Nanyang Academy of Fine Arts
(Singapore)
FRINGE COMMISSION • world PremiereBook Now
a unique approach, rather bold and different
—Natya Vichara on Purushi by Ruby Jayaseelan
I know [Effendy’s work] will express a kind of pain and anger acceptable in the performance space, a pain and anger that is often delegitimised or minimised or considered “inappropriate” elsewhere—and I cherish his work for that reason.
—Corrie Tan, Jom Media on ANAK by Very Shy Gurl by fendy
I myself am an absolute abyss.
—Antonin Artaud
In the beginning, God created despair, for men to find hope within. Someone heard someone else say this somewhere before, sometime back. But no one knows who, when and where. It must have been God herself who had said this through some men. Only God could be that smart to tease men into such futility. And here, men find themselves being baited into their own despair.Conceptualised and directed by Noor Effendy Ibrahim and Ruby Jayaseelan, Dancing with the Ghost of My Child is an experimental physical theatre performance written by Elvira Foo Jing Yun, Gregory Kong Ka-Ee, Lex (Lee Zhi Qi), and Liu Qintong (Amelia) exploring vulnerability, trauma and the desire to heal. It is devised by students from the BA (Honours) in Performance Making programme at Nanyang Academy of Fine Arts.
Co-presented with Nanyang Academy of Fine Arts (a founding member of the University of the Arts Singapore).
There will be a dialogue with the artists after each performance, with speech to text interpretation available upon request for the dialogue on 10 January 2025. Please email your request to info@singaporefringe.com by 6 December 2024.
Artist Statement
Dancing with the Ghost of My Child is an experimental physical theatre performance that interrogates the latent and inherent memory of the various states of despair and the desire to heal that are within the body of the performer-dancer, with the objective of attaining empathy, and eventually solidarity with experiences of trauma that are foreign and unfamiliar. Devised by students from Nanyang Academy of Fine Arts’s BA (Hons) in Performance Making programme through research and explorations on concepts and experiences of trauma and healing within contemporary society, Dancing with the Ghost of My Child is a celebration of the poetics and potency of vulnerability the body performs. In the beginning, God created despair so that people could find hope. This idea has been heard before. However, no one knows who said it first, when it was said, or where. It must have been God herself who spoke through some men. Only God could be clever enough to trick men into something so pointless. Now, they find themselves trapped in their own sadness.Dancing with the Ghost of My Child is a creative performance. It uses the way bodies can move to explore topics like:
- Sharing your feelings, even if you might get hurt
- Deep hurt from bad experiences
- Wanting to heal from the hurt
The play is directed by Noor Effendy Ibrahim. Ruby Jayaseelan created the dance moves for the show. This performance was created by students from the Nanyang Academy of Fine Arts. They are from the BA (Honours) in Performance Making program. It is written by some of the students Elvira Foo Jing Yun, Gregory Kong Ka-Ee, Lex (Lee Zhi Qi), and Liu Qintong (Amelia).
There will be a dialogue with the artists after the 8pm performances on 10 and 11 January 2025, with speech to text interpretation available upon request for the dialogue on 10 January 2025. Please email your request to info@singaporefringe.com by 6 December 2024.
Artist Statement
Dancing with the Ghost of My Child is a creative performance. It uses body movements to explore hidden memories, sadness, and the wish to heal. The goal is to help people understand and care about others' pain, even if it's different from their own. This way, people can come together and support each other.The performance was created by students from Nanyang Academy of Fine Arts. They are part of the BA (Honours) Performance Making program. The play is based on their research about trauma i.e., the deep hurt from bad experiences and how people heal from the hurt.
There is strength and beauty when we share our feelings openly, even if it means we might get hurt. This show celebrates how the body can express that in a powerful way.
Download artist biographies
Date & Duration
9 to 11 January 2025, 8pm
11 to 12 January 2025, 3pm
70 minutes with no intermission
Location
NAFA Studio Theatre
Price
$38
*20% discount for students, NSF, senior citizens and PwD cardholders
Accessibility Features
Open captions in English for all shows
ECLIPSE
The Necessary Stage
(Singapore)
Book NowAbsorbingly told by [2008 staging's actor] Umar Ahmed, Eclipse suggests that ancestral memory is never as meaningful as the allegiances of everyday life.
— The Guardian UK
A young man from Singapore is going to Hyderabad, Pakistan, with his father's ashes. He is headed to where his dad was born. This is the same way millions of people took during the 1947 Partition — this was when India was split into two countries: India and Pakistan. It’s also the path his parents and grandparents took.
Eclipse is written by Haresh Sharma, a playwright who won many awards. It tells the story of three generations of men. They struggle with their dreams and their past, which were shaped by big events in history.
The play was first staged by Scotland’s 7:84 Theatre. Back then, it was a short show at Traverse Theatre. It got a lot of praise from experts. Later, it was expanded into a full-length play for the M1 Singapore Fringe Festival in 2008.
Almost 80 years have passed since the Partition. This new version gives a fresh take on the story. Associate Artist A Yagnya directs the show. The performers are:
1. Shrey Chargava, a Singapore actor who won many awards
2. Sveta Kilpady, a singer who does Indian classical music
(Playwright Haresh Sharma) has demonstrated a deftness and maturity in scriptwriting, a deeper inquiry into life and humanity, as well as an evident progress in terms of his creations.
— 联合早报 Lianhe Zaobao [translated from Chinese]
A young Singaporean man is making a journey to his father's birthplace in Hyderabad, Pakistan. With him are his father's ashes. As he makes the arduous trip, he retraces the original journey made by millions of people—including his parents and grandparents—in 1947, during the partition of India and Pakistan.Written by Cultural Medallion recipient Haresh Sharma, Eclipse is a play that looks at three generations of men struggling with their dreams and their journeys, offering an intimate look at personal stories affected by historical events.
First presented as a short play to critical acclaim by Scotland’s 7:84 Theatre at Traverse Theatre, Eclipse was developed into a full-length production for the M1 Singapore Fringe Festival 2008.
Almost 80 years after the Partition, this staging with a fresh new direction by Associate Artist A Yagnya stars award-winning Singapore actor Shrey Bhargava. It also features Indian classical vocalist Sveta Kilpady.
There will be a dialogue with the artists after the performances on 16 and 17 January 2025, with speech to text interpretation available upon request for the dialogue on 17 January 2025. Please email your request to info@singaporefringe.com by 6 December 2024.
Artist Statement
“Eclipse was first written as a short play in 2007. Scottish theatre company 7:84 commissioned four writers to create 20-minute plays on the theme of separation and union in nationhood. Instead of writing about Singapore-Malaysia, I decided to focus on India-Pakistan. The Partition which happened in 1947, left 15 million people displaced and 1 million dead. My father was one of those displaced. He and his family fled from Hyderabad, Sind and eventually relocated to Mumbai. The play was developed into a full-length version and staged in 2008, and later published in 2014.
“It is timely that the work is being restaged in 2025. This simple monologue that tells the story of partition through the eyes and voice of a young Singaporean man—and his father and grandfather—speaks of larger issues concerning nationhood, identity, and colonialism. In the play, the character of the grandfather leaves Hyderabad, Sind to work in Japan, where he eventually loses contact with his family. The father moves from India to Singapore where his son is born, and his family is raised. In these tales of migration and displacement, characters find opportunities to create a sense of belonging and attempt to define what home truly means.
“There are many moments in history—and even in the present—where individuals and communities are forced to make life-changing decisions in the most helpless of ways. Where they have to flee or fight because of the decisions of politicians and colonisers. Their struggle and suffering are not a consequence of their own actions but are beyond their control. In such situations, they can only respond in their best interest and that of their family.
“Eclipse tells the story of one family. But it gives voice to countless more.”
— Haresh Sharma, Playwright
Artist Statement
“A Scottish theatre group called 7:84 asked four writers to create 20-minute plays. The topic was: separation and unity in countries. Instead of writing about Singapore and Malaysia, I chose to explore the India-Pakistan Partition of 1947. The Partition forced 15 million people to leave their homes, and 1 million people died because of it. My father had to leave too. His family escaped from Hyderabad, Sind, and later settled in Mumbai. The play was made into a full-length version and performed in 2008. It was later published in 2014.
“It makes sense that the play is being performed again in 2025. The play is a simple speech by only one actor. The play shows Partition through the eyes of a young Singaporean man, his father, and his grandfather. Eclipse explores big ideas like:
1. Nationhood: What makes people feel connected as one country?
2. Identity: What makes you who you are?
3. Colonialism: When one country controls another, often by force
“In the play, the grandfather leaves Hyderabad, Sind to work in Japan. He loses contact with his family. The father moves from India to Singapore, where his son is born and grows up. These stories talk about people moving to new places, sometimes without choice. The characters try to figure out where they belong and what home really means.
“Throughout history and even today, people and communities are forced to make huge decisions. They have to run away, or stay and fight because of what leaders and colonisers decide.
“Their struggles and suffering aren't their fault. They can’t control that these things happen. In such tough times, they can only do what's best for themselves and their family.
“Eclipse tells one family's story, but it speaks for many others too."
Date & Duration
15 to 18 January 2025, 8pm
18 January 2025, 5pm
60 minutes with no intermission
Location
Practice Space, The Theatre Practice
Price
$38
*20% discount for students, NSF, senior citizens and PwD cardholders
Accessibility Features
Open captions in English for all shows
Rating
To be advised
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I AM SEAWEED
Mm And Something Happens Here (MASHH)/Cheryl Ho & Rachel Lee
(Singapore/Australia)
Asian PremiereBook Now
It’s a thrill but with a lot to say about mental health and personal reflection and why people with the biggest grins might hide the biggest sadness.
— Keith Gow, Theatre First
Screaming, overwhelmed and frustrated: I just want to tear out my skin and smash my head against a wall!!! Screaming, overwhelmed and frustrated: I just want to tear out my skin and smash my head against a wall!!!We are always pushed to do more work, learn more, and rely on ourselves. What does it really mean to just relax and be yourself? Can we grow while loving and trusting ourselves instead of shaming or comparing ourselves to others?
Meet Sheryl with an 'S.' She lives in Singapore, which also starts with an 'S.' Like us, her life hasn’t been easy. But that’s okay.
Join Sheryl on her journey. She wants to be able to adapt to situations / adaptable/ resourceful and strong like Seaweed. Step into a world with dark and serious images and videos and weird presentations. There’s also a lot of ‘weed’ from the sea...
I Am Seaweed was a Judges’ Pick and nominated for Best in Theatre at Melbourne Fringe 2023. It is a multimedia show that provides a break from the stress of everyday life.
Some audience members will be seated on cushions on the floor during the show, so please dress comfortably.
Artist Statement
“I Am Seaweed looks at how trying to always be strong can hurt us. This can mean working even when you're sick, hurt, or ignoring your feelings just to finish the job.“Freelancers often have to make tough choices. They might have to choose between health and money, finding balance or working very hard, and deciding between relationships and new opportunities.
"I was used to this tiring way of living. To be the 'strong' person I thought I should be, I gave up two important things: my health and my who I really am. I realised I wasn't alone feeling this way.
“Through this show, we hope that you will think about how you approach work and life. What kind of life do you really want? Can we be kinder to ourselves and each other?”
In a society where we are constantly pushed to be more productive, skilful and self-sufficient, what does it mean to 'just be?'. Can we grow from a place of love and trust instead of shame and comparison?
Meet Sheryl with an ‘S’. Sheryl lives in Singapore, which also begins with an ‘S’. Life hasn’t been the smoothest for Sheryl, like for us all. No problemo.
Follow Sheryl on her quest to become as resilient and as versatile as Seaweed. Enter a world of moody projections, quirky presentations, satirical ads, and a lot of the 'weed' from the sea.
A Judges’ Picks and Nominated for Best in Theatre at Melbourne Fringe 2023, I Am Seaweed is a multimedia theatrical show that creates space for respite in an overwhelming world.
Please note that some audience members will be seated on cushions on the floor for the duration of the performance. We advise that you dress comfortably for the show.
I Am Seaweed resonates with anyone who has ever felt overwhelmed or persistently pressured to keep striving for more, for better. It's an entertaining and good-humoured show that asks us to look inside ourselves and question why we do everything we do and if it's actually making us happy.
— Myron My, MyMelbourneArts
A joyous work featuring a stunning, off-the-charts-charming performance from Cheryl Ho. Bold, energised, achingly-human and super sharp
—Judge’s Pick, Melbourne Fringe Theatre
With support from Theatre Works (Australia)There will be a dialogue with the artists after each performance, with speech to text interpretation available upon request for the dialogue on 17 January 2025. Please email your request to info@singaporefringe.com by 6 December 2024.
Artist Statement
“I Am Seaweed looks at the pursuit of resilience at the expense of the self. This can look like pushing through an illness, injury, or numbing one’s emotions just so the work gets done.
“If you’re hustling as a freelancer, there are many trade offs: Health vs Money, Balance vs The Hustle, Relationships vs Opportunities, etc.
“It gets exhausting but this rhythm was what I was used to. I was sacrificing my health and ‘who I was’ to be the ‘resilient’ person I ought to be. And I realised that I was not the only one feeling this way.
“Through this show, we hope audiences might reflect and reconsider how we show up at work and in our lives and choose to live in a way that’s more intentional. What kind of life do you actually want to live? Can we show up with more compassion for others and ourselves?”
Date & Duration
16 to 18 January 2025, 8pm
18 January 2025, 3pm
60 minutes with no intermission
Location
NAFA Studio Theatre
Price
$38
*20% discount for students, NSF, senior citizens and PwD cardholders
Accessibility Features
Open captions in English for all shows.
Singapore Sign Language Interpretation for 8pm show on 17 January 2025.
Rating
To be advised
︎ @MASHH | @CherylHoHoHo
︎ Cheryl Ho Hui Ee
THE END OF WINTER
Siren Theatre Co
(Australia)
Asian PremiereBook Now
With climate change, will winter one day be gone? Will it only show up in stories, paintings and history? Australia is hot. Bushfires happen easily. Winters are getting warmer and shorter each year.
The End of Winter is about loss, and coping with tough times. It is also about places that still have cold weather. We can reach them by public transport, or with a little imagination.
This show won two awards:
1. Best Actor at the Sydney Theatre Critics Award.
2. Sustainability Award at the Adelaide Fringe 2024.
The End of Winter is a touching, heartfelt love letter to winter, written during a scorching summer in Australia.
★★★★★
… complex, entertaining, emotionally varied but crystal clear
— Theatre Travels
★★★★★
It’s a bravura performance from Jane Phegan…a theatrical experience of bonewarming depth and of hope.
— Reviews by Judith
Will climate change erase winter, leaving it to exist only in fairy tales, paintings, and historical accounts? In hot, bushfire-prone Australia, the winters are increasingly warmer and shorter with each passing year.
Winner of Best Actor at the Sydney Theatre Critics Award and Sustainability Award at the Adelaide Fringe 2024, The End of Winter is about loss and resilience. But it’s also about the places one can search for cold weather—places that can be reached via public transport, or a little imagination…
The End of Winter is a moving, evocative love letter to winter, written in the unrelenting Australian summer.
Artist Statement
The End of Winter is about a big issue we face today—the changing climate and the loss of seasons.
We must tell and share stories — doing this will teach us how to survive climate change. These stories can be our own, or based on science.
It is easy to talk about the weather, but harder to talk about how climate change affects it. This is because we mix up weather and climate a lot. In Australia, we have all kinds of weathers. There’s extreme heat, droughts, bushfires, floods and cyclones. As the world gets hotter, these extreme weather events will get worse.
Artist Statement
The themes and ideas contained within The End of Winter lean into the most significant issue of our time—the changing climate and the loss of seasons.
Telling and sharing stories, from the scientific to the personal, is one the most important tools we must use to survive climate change. It’s easy to get into a typical conversation about the weather. It’s harder to talk about how changing weather patterns relate to climate change—especially when climate and weather can often get confused. In Australia, we’ve experienced it all: extreme heat, devastating droughts, raging bushfires, floods, and cyclones. But these extreme weather events are only going to worsen as the world continues to heat up.
Date & Duration
8–9 January 2025, 8pm
55 minutes with no intermission
Location
Esplanade Theatre Studio
Price
$38
*20% discount for students, NSF, senior citizens and PwD cardholders
*10% discount for Esplanade&Me members (limited tickets). Log in to your Esplanade&me member account to access the promo code.
Accessibility Features
Open captions in English for all shows.
Rating
General
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