Thank you for all your support. It’s been 3 years since ArtZine started in 2008 so we decided it’s time to tweak the website design and improve the magazine. Do check back at our site in October 2011 for the reveal of our new look.

In the meantime…

Bookmark our new weblink! >> artzinesg.com

If you would like to advertise with us on the new website,
explore partnerships/promotions/sponsorships with us,
submit press releases/media invites/event listings please contact us at info.artzine@gmail.com

If you would like to help us by writing articles or taking photos, please fill in the web form at the new weblink (artzinesg.com)

Take care and see you at our weblink in October 2011.

By: Sarima Jasmin

At the Singapore Arts Festival 2009, Toy Factory Productions displayed yet another brilliant local theatre piece. Directed by the acclaimed author and director Goh Boon Teck, The Crab Flower Club, was inspired and produced based on poems in Cao Xue Qin’s masterpiece, Dreams of the Red Chamber.

Director Goh Boon Teck channelled his appreciation and endless inspirations from Chinese cultures and issues for the production. Accompanied by visually impressive projections and lighting, a wall of porcelain vases and a live painting by Singapore ink artist Hong Sek Chern, the set made it easy for the audience to believe and imagine themselves being transported back to China during the Qing Dynasty.

Set in a household where five daughters – each with their individual emotional background and experiences- clashed and added their own flavour to complicate, they gather to prepare a feast on the eve of their father’s 60th birthday and form an all-women poetry club in secrecy at a time when female artists were not regarded.

In the process of creating the poetry club, the five daughters relayed bits and pieces of their own secrets and hidden desires on each of the night they meet. As the story unfolds, the audience were able to observe each of their character’s yearnings through their contribution and exchange of poetry.

While Lady Wu Chang and Sister Wu Yu, (played by Nell Ng and Jean Ng respectively) convincingly demonstrated their dilemma between being dutiful wives to their abusive husbands and the desire to seek their own independence for growth, Lady Han Bing (played by Noorlinah Mohd) displayed the perfect set of emotions as she struggles to put up an image of a strong and unaffected woman after her third miscarriage under the disguise of her obsession for a clean kitchen.

There is also much enthused drama to expect between the two younger daughters, Sister Wu Jie and Sister Liao Liao (played by Janice Koh and Patricia Toh respectively) whose opinions on each other’s priorities vary greatly despite their characters being the youngest out of the sisters. As the story advanced, the five daughters aimed to seek solace from their individual predicament through their poetry.

The Crab Flower Club is a definite feast for the senses; it creates a balanced mix of dark and empowering setting with a tinge of humour and quirky bits to lighten the heavy content that was portrayed in the production. The cast of the production, with their elaborate costumes, gave splendid interpretation of their own characters, unconsciously encouraging the audience to relate to their performances.

Director Goh Boon Teck has indeed risen to expectations with this production. Not only did he manage to identify the relevance of the issues brought in by each character, he was also successful in bridging the old with the new; employing the beauty of classical poems and history to mirror the current pace of life in today’s society.

“A definite delicacy, the Crab Flower Club proved to be quite the indulgence for the audience.” – ArtZine Singapore

Images courtesy of Lionel Lai.

By: Hailey Tay

Invisible Room is a complete invasion of the definition of ‘Space’. Produced by The Observatory, a local rock band, filmmaker Ho Tzu Nyen and theatre director Kok Heng Leun, this collaboration for the Singapore Arts Festival 2009 sounds the ambitions of confinements.

Shut yourself out from the overbearing sounds of reality and listen intently to the juxtaposing voices drowning in the background. The humane similarity is perhaps the prolonged agony of one’s adamant determination to find vessel-led-relations to other human beings.

Drown yourselves in the daunting yet hypnotizing perpetuals of interpersonal controversies. The chamber walls of screens will elude you from practical light and create leeway for hallucination’s transgressions. It seems, you may be confined in the limitations of physical space but the invisible room of unconsciousness may never abandon you.

As the screen played on motifs of grotesque, I must have involuntarily drifted away to the depths of unfound thoughts much like the unexplored territories of the universe. I was not so much aware of the changes on screen as the hypnotic effect that had slowly caught up with me.

It shocked me how one should ease into a dreamer’s land even amidst the blaring sound. Apparently, the mind really does have a greater will should it decides to take on the task of mentally venturing away from reality and all related. Yet the morbid tones of life lingers the background, insufficient enough grasp full attention but sufficient enough to occupy.

Intriguingly provocative and evasive, the in depth exploration of one’s relentless mental clock ticks to the seconds of unknowing repressions. The country’s best brain surgeon wouldn’t even be able to understand this art of a human’s invisible thoughts!

By: Hailey Tay

Full Frontal: LIV

LIV is a Singapore Arts Festival 09 commissioned work that Nelson Chia collaborate with A Group Of People. “LIV is an exploration of what it means to be Living or Alive.” Nelson discovered “that one can talk about death in a meaningful way only if (one has) examined the life that had been lived.”

In an interview with ArtZine, Nelson shares that amidst this production he was challenged by the tedious process of rehearsals, workshops, re-writes, edits, structuring and re-structuring to mould the play according to precise desires.

Due to the fragmented nature of the play, the characters’ relationships were of particular focus to him “as they are not clearly delineated in the play’s original text (but were to him) significant invisible lines to hold loosely related texts together.”

As the characters play out, audiences will find haunting similarities with which “the act of living entailed, brings us to the question of personal choices in life” on a day-to-day basis. If you frequently experience trouble sleeping as these four characters do, Nelson translates that it is a reflection of  “not Living well. When you don’t live well, you don’t sleep well and in turn, you don’t dream well.”

One might suspect his insightful understanding of sleep disorders stems from personal experiences? Nelson explains his late night experience in due relation to that.

He tells ArtZine, “I sleep on two different mattresses every night (one on the bed and one on the floor) and that’s because my twin daughters, who are 5 years old, would always come and invade my bed in the middle of the night, and when that happens I just roll myself onto the pre-prepared mattress on the floor.”

More about Nelson:

He is currently lecturing at the Theatre Studies Programme at NUS. He is also the Associate Artistic Director of Toy Factory Productions Ltd, an Associate Artist with The Substation and the founding member of a collaborative ensemble A Group Of People.

Ring in June! Mid year is here and shame on you if you haven’t gone for at least one art event yet. ArtZine speaks with Haresh Sharma (The Necessary Stage), Loretta Chen (Zebra Crossing) and Charlotte Nors (Singapore Repertory Theatre) on introducing Singapore Theatre to Theatre Virgins.

AZ: Being so involved in theatre, does your interest in theatre rub onto your friends who are not so familiar in that area?

Charlotte: Yes, I have always – also before theatre became my professional life – organised theatre outings. I have always loved going to the theatre. Cinema is fun too but theatre has that element of being able to touch you much more because it’s all happening right there in front of you. Real people. Real stories.

Loretta: Absolutely. My parents had not been to the theatre but started going to the theatre since I made my debut on stage. My brothers, Edmund and Eric, have never watched me act on stage but have pretty much watched every show I’ve directed! My students have also been strongly encouraged to watch theatre. As for my friends, most of them are already in the theatre circle, for those that aren’t, rest assured, I’ve already made them pay their dues by dragging them to at least one of my theatre performances!

Haresh: I’ve been involved with The Necessary Stage since 1987. I think I’ve lost more friends since then than made new ones. In other words, after 22 years in the theatre scene, most of my friends are themselves involved in theatre. The only person I can safely say I have influenced or ‘converted’ is my father. He makes it a point to watch every play I write.

AZ: Have you tried to persuade a friend to watch a performance?

Charlotte: Too often to single out one… but rarely have my friends said they felt it was wasted time and money.

Loretta: Absolutely.  I’ve dragged all my friends to all my shows if i can help it. Most don’t need much dragging to be honest. I remember dragging some of my ‘ang mo pai’ friends to my Mandarin plays and they had tons of fun as they were surprised how I could incorporate MTV-esque and pop elements into the play. I also dragged some of my more conservative friends to The Vagina Monologues (many of them bankers, lawyers and accountants) and they had heaps of fun! In fact they had so much fun, they wanted to be placed on the mailing list so they could be the first to buy tickets even without me accosting them!

Haresh: Actually, no. As much as I do give out flyers of TNS’ plays, I never persuade anyone to buy a ticket. I leave it to them to decide.

AZ: First-time theatre goers we interviewed commented on the freedom given to theatre. However, those who frequent the theatre are accustomed to honest comments in plays.

Charlotte: Theatre companies all have different ways of telling their stories. Some provoke. Some make you laugh. Some make you cry. I believe that theatre is a slice of life and as such language and stories should be true to life. Singapore has changed a lot over the recent years so even our  staging of Avenue Q went by uncensored – we can’t expect audiences who have seen a play in i.e. London or New York to not notice if words have been cut. But at the end of the day – to me it’s all about telling a story and telling it well by working with great actors and choosing good stories.

Loretta: I definitely think that we get away with more in the theatre because like I’ve said before, it is niche enough to challenge controversial issues but widespread enough to reach out to a considerable audience.  Many first time theatre goers are indeed stumped by how we can say the word “C**T” or “F**K” or even make overt references to homosexuality and other racier issues. Moreover, I also do feel that theatre producers ie directors, playwrights, designers, actors also spend considerable time trying to evince strategies to articulate these controversial issues in a clever and refreshing manner through the use of strategic blocking, facial expressions, gestures, music choices, costumes and set designs that may not be immediately evident at first glance. However, to a seasoned theatre goer, they may be able to appreciate these visual, verbal or aural puns and appreciate the subtext, context and metatext more readily than a theatre virgin. So definitely, an open-minded person would be able to appreciate a theatre performance at more varied levels and be able to discern the cultural references that have been made.

Haresh: People often don’t realise how much freedom and space is given to the theatre scene in Singapore. It hasn’t always been the case. But recently we’ve had a fairly decent rating system, with clearer guidelines and advisories. So a lot more is ‘allowed’. I think our audiences come to the theatre because they want to embrace that openness and freedom which are expressed in the theatre.

AZ: What was the first performance you watched?

Charlotte: Growing up in Denmark I went to the theatre at least thrice a year – either with my school or my family. Children’s theatre is huge in Denmark – and we are getting there here as well – so I guess I was 5 when I watched a performance of The Nutcracker.

Loretta: I remember my first theatre experience was when I played an Angel in a kindergarten nativity play. My first pseudo-adult memory of watching theatre was a very much bird’s eye view of Les Miserables — as a student who could only afford the very cheapest tickets practically on the roof of the Kallang Theatre.

Haresh: I don’t remember watching plays and arts events when I was younger. But then again, plays were not as common then as they are now.

AZ: Love for the arts should then be nurtured from a young age.

Charlotte: YES YES YES!!!! SRT’s The Little Company is doing amazing stuff for the 2-6 year olds. My son is 2 years and he so enjoys coming with me now. It’s such a great experience for a parent to see a child totally immersed in the play.

Loretta: Absolutely. I began to love theatre during my literature class. I had a zany, fun and almost ditzy teacher who made Literature classes very fun. I was also exposed to theatre throughout my primary and secondary school days. My fondest memory was performing in a play I devised with my other classmates called “Ah Mui’s Final Suitor” in which I played Ah Mui who was looking for a suitor from the twelve Chinese zodiac animals. It was a very simple story that exemplified the characteristics of the twelve animals but also played on modern day match making. It was the assembly play for the Chinese New Year festivities- and the piece went on to be selected for performance at the Singapore Youth festival. For a 13 year old, that felt like winning Olympic Gold! So yes, drama in early childhood education is seminal and integral in creating new artists.

Haresh: I totally agree that love for the arts should be nurtured from young. Our first formal experiences of the arts are usually in school. So I think schools should do more to promote the arts. They can invite artists to speak to students and present performances during assembly.

AZ: What more can be done for children to experience theatre?

Loretta: We must begin to break the myth that theatre only happens in a theatrical arena but that theatre happens all around us. It is always interesting when I tell young children (or adults for that matter), is that all that it takes for theatre to happen is an actor, a space, and an audience member. A lover’s tiff on an MRT can be theatrical, a man in a suit dashing for a bus can be theatrical, a baby in a pram can be theatrical. All that takes is for an individual to be more observant about life, and theatre happens right before your very eyes. But in more concrete, specific ways, schools can help by taking theatre to schools, by allowing for more performances to be staged by professional groups during curriculum time, and also by organising excursions to the theatre, or to backstage tours to the Esplanade etc. This can also be augmented by exposure to traditional modes of educational activities such as story-telling and drama competitions which have been superseded by virtual reality.

AZ: What is the greatest misconception about theatre?

Charlotte: You know, working in the theatre I have my heart and soul buried in my work. This is my life so I probably do not know what misconceptions people have. That is it for the elite? Rubbish – even tickets to watch Sam Mendes’ The Winter’s Tale at Esplanade starring Ethan Hawke can be bought at $40. Everyone can afford that.

Loretta: That theatre is only full of Shakespeare. That Singapore theatre is boring, uncreative, pretentious, of low standards and very ‘atas’ (only for the “ang-mohs” (expatriates and tourists) or overseas educated, upper middle class audience)

Haresh: I think some people resist theatre because they think it’s ‘cheem’. I think our audiences are more intelligent and analytical than they give themselves credit for. Sometimes an audience member comes up to me and says ‘I don’t understand’. But after a couple of minutes of speaking to them, they actually have very profound interpretations of the play. We have always been schooled to find the right answer. But theatre is not about the right answer. It’s about your answer, your individual and personal response.

AZ: Perhaps first-timers don’t feel comfortable watching theatre alone? Like people usually watch movies in pairs or groups, right?

Charlotte: I rarely do, but that is my loss. If you are keen to watch a play, then go buy the ticket and allow yourself a good inspiring evening out.

Loretta: Of course! Theatre is best savoured alone or with friends, family and loved ones. In short, theatre is best savoured – all the time!

Haresh: Yes!

Try this… “start with any show you are interested in. Read the synopsis; find out more about the work. If you find anything that resonates with you, go buy a ticket”, advises Haresh while Charlotte talked about Much Ado About Nothing (read our review here) and Loretta suggested the musical Victor/Victoria which will run in November 2009.

By: Sarima Jasmin

“Some cupids kill with arrow and some with traps.”

Indeed, Shakespeare’s Cupids were striking arrows in all the right places snagging our hearts at Fort Canning through May. Packed with poetic nights of tranquility and romance under the stars, the Singapore Repertory Theatre’s (SRT) Shakespeare in the Park this year, returns with its local take Shakespeare’s romantic comedy, Much Ado about Nothing.

Set in the 1930s, the production takes place in an intimate but majestic setting. The clever use of space and props seamlessly blend with the rest of the environment. There was a convincing spiral staircase, a swimming pool, costumes and a driven car! The twist comes in the form of an infusion with the Peranakan culture to provide a more local setting.

The story begins as weary soldiers return home from war, only to find themselves tumbling into another battle –involving the matters of the heart.  During a celebration at the wealthy Leonato’s house, Claudio, a handsome young soldier played by Jason Chan, sees Julie Wee’s character; a beautiful, young woman named Hero and becomes captivated by her.  They fall in love at first sight and soon hasten into marriage while still having to learn a lot about each other.

In attempt to play Cupid, Claudio, Hero and their friends, match-make unsuspecting victims, Benedick and Beatrice (played by Adrian Pang and Wendy Kweh respectively) whose affections for each other disguised as outright contempt in the form of constant bickering, becomes too tempting a scene for their friends to refrain from toying with. The plot thickens and much drama ensues as the villains enter the picture.

As the story unfolds, there is brilliant drama as the relationships between the two couples shift. The cast gave off wonderful energy and portrayed their characters convincingly and effortlessly, allowing audience to identify easily with their characters. Adrian Pang, in particular, was spot on with comedic timing and flair, drawing cheers and laughs from the audience.

British director, Edward Dick interpreted the play in a definitive yet playful, spontaneous manner while allowing room for characters to develop. A real crowd pleaser, Much Ado about Nothing, definitely delivered as a contagious exciting piece, leaving its audience chattering away, pleased and entertained.

—-

Much ado about Nothing ends 31 May 09!

Time: 7:30pm
Duration: Approx 2 hrs 30 mins with interval
Venue: Fort Canning Park
Tickets are available from SISTIC:
(Excluding Booking Fee)
Thu & Sun shows: S$43
Fri & Sat shows: s$48

Images courtesy of the Singapore Repertory Theatre.

And so it begins…
By: Kellynn Wee

The fireworks lofted themselves into the air and exploded, showering man-made stars trailing glitter and gold dust, lighting the upturned sea of faces at the Marina Barrage.

As a Festival Assistant it was not my job to look up at the fireworks, though there was no denying that we all raised our heads and stole glimpses; rather we were to keep an eye on the crowd that gathered for the opening performance of the Singapore Arts Festival.

I was oddly grateful for the chance to survey the crowd instead: the transfixed wonder and open smiles that the onlookers wore were a little like a fireworks display in themselves.

The opening performance Helios II by La Compagnie Malabar depicted the legendary Sun God through the parade of a giant metallic preying mantis and acrobatic displays capped with a beautiful pyrotechnics show at the end. After 3 shows, La Compagnie Malabar showed no signs of slowing down.

Pre-show excitement

In the late afternoon just before the pre-show performances at 6pm, the curve of the Barrage framed about twenty kites flitting hummingbird-like, across to hundreds of eagerly waiting eyes. The Festival Assistants and volunteers were heading to our places, fanning out in order to answer queries, hand out brochures and programmes while maintaining crowd control.

If there was any concern about the arts reaching every demographic possible in Singapore, this concern was neatly – for the moment, at least – put to rest at “Helios II”. I met what felt like the entirety of Singapore as I spoke to passersby and handed out programmes of the Singapore Arts Festival – everyone ranging from elderly couples to whole families of six children (complete with harried-looking parents), from the chic artsy types coming in pairs of cool sunglasses to European and American and Indian tourists to teenaged couples and many foreign workers.

Everyone was curious about the show that was to come. Many came avidly excited about the fireworks display that would end the night. “Got fireworks right? What time ah?” someone would demand of me and then satisfied with my answer would drift off again into the crowd.

The pre-show carnival atmosphere was a treat. Mimes roamed the crowd on imaginary motorcycles and blew huge invisible balloons for everyone they saw. There was face paint on many plump cheeks and arms of the children while magicians performed with gusto on makeshift tables and under towering hats.

Making 2009 Memorable

This year’s Arts Fest seems particularly engineered to bring the arts to the heartlands, with the closing ceremony held in a field in Yishun and street performances planned for incongruous places such as the Amoy Street Food Center, and it was heartening to see that it was already working. This year, the Arts Fest seems to leap away from the avant garde Architecture of Silence by Edward Clug that was featured on the festival programme covers. Turning to a jovial and light-hearted side, festival covers now don brightly coloured nymphs.

Dusk was already falling when local drum troupe Zingo! took the stage and astonished onlookers gathered around the fountain, waiting for the performance to begin.

Its green eyes began glowing, terrifyingly surreal as the giant preying mantis emerged wreathed in smoke. Made out of an old elevator and parts of a trunk it is a strange figure. Men on stilts led the way, clearing its path by swinging red torches and lamps. In the dark it was a dream of smoke and light and sound – wondrous and frightening all at once.

Everyone was mesmerized by the odd spindly grace of this metal insect, with an odd kind of worship as befitting the concept of the birth of a mythological sun god; when it bent down, pincers extended, parents lifted their children to touch them reverently.

Everything seemed close and almost dangerous, although it was perfectly safe and the stilt walkers made sure to keep the crowd at a berth. It seemed that a part of all of us, yearns a magical touch, something that is illogical and inexplicable.

The fireworks display ended the dreamlike performance fittingly. The performers waved the audience off while the giant preying mantis folded back into itself with a sigh of dull metal. It was a promising beginning to the Singapore Arts Festival of 2009.

Were you there too at the opening performance? Tell us what you think!
The Singapore Arts Festival runs until the 14 June.

[Pictures from the opening - COMING SOON to ArtZine]

Went for Esplanade’s Studio Theatre series? We were at Peter Sau’s A Madwoman’s Diary and here’s what some have to say:

BLOGOSPHERE: What people are saying on the Net

• “It’s pretty interesting. The two actors had totally brought the characters to life! It’s about the lives of these two women, who are different from their social classes, nationalities and education level. The two women didn’t know each other throughout the play, but you should see how it is made such that their fate seems to be connected.” – Ai Ying
• I must say eventhough I am not an arty farty person I liked the play! It’s not feminist; it was a very raw and honest depiction of women who went crazy but the crazy things they said still held truth and honesty. One was abused by her husband and had stillbirth and thought to herself that her baby was with her… and the other was a politician under home prison, we particularly enjoyed the exciting monologue and the fluency of the actresses. - Min

Look out for ArtZine’s review of “A Madwoman’s Diary”! [COMING SOON]

Peter Sau shares with ArtZine about his play entitled ‘A Madwoman’s Diary’. The bilingual production runs from 7-9 May at the Esplanade Theatre Studio.

“This maiden theatrical writing of mine, stars two veteran actresses, Goh Guat Kian and Li Xie, in two challenging roles,” he begins. Ideas for the play cropped up when democratic politician Aung San Suu Kyi under house arrest and when an NTUC employee who was prosecuted for hiding her stillborn baby in her workplace locker.

One woman wrote a book on “Freedom from Fear” while the other struggled in fear.

The mother.
Accused of leaving of stillborn child in the locker.
Pleaded guilty.
Escaped jail sentence.
Ordered to do 80 hours of community service.
Abused by her husband.

The freedom fighter.
Accused of violating State rules. 
Not guilty.
Did not escape detention. (in detention for the past 13 years)
Works for peace.
Abused by political opposition.

And FYI, her letter of appeal to be released from detention has been declined by the Junta. (reported on 5 May) 

The  struggle to survive judgement and estrangement runs along this tale of “The Madwoman’s Diary”. Who is the victim and who’s the criminal?

Accusation. Judgement. Estrangement.

An intimate and gritty two-woman play offers a visceral insight into the complex psyche and heart-rending inner strength of two extraordinary individuals stranded in domestically intricate and socio-politically charged situations of choice, but never letting go of hope.

—

A Madwoman’s Diary

Produced, written and directed by Peter Sau
Starring Li Xie and Goh Guat Kian

May 7 – 9, 8pm, Esplanade Theatre Studio
Tickets available from  SISTIC at $28

*Performance will be in English and Mandarin with English subtitles

[Remember Ezzam Rahman? We interviewed him when his film was nominated for the Best of First Take 2008. He did the installation art for this play so look out for it!]

By: Valerie Oliveiro

It all begins with a blank canvas.

With quick strokes he adds swiggles of red, bright blue and shocking yellow. Almost like a cheoreographed dance, he moves lyrically in front of the canvas. Watch him carefully – if you blink, you might miss the finishing touch to the painting. Satisfied, he steps back and grins. Meet French speed-painter Jean-Pierre Blanchard.

Come 4 May, TCC “The Gallery” at Circular Rd will host Jean-Pierre’s work.

ArtZine will be there for his first Asia performance, to witness the manisfestation of portraiture produced to music.
[Stay tuned for updates from us]

Celebrities he has painted include Charlie Chaplin, Pavarroti, Salvador Dali, Ray Charles and… Harry Potter!

Born on June 28, 1947 in Ingrandes, Indre, Jean-Pierre  studied the Arts in Paris from 1962 to 1967 and is trained in the Classical and Academic Art disciplines. Using both Classical techniques and Academicism, his works releases symbolic and poetic forces, combining the elements, motion and light.

With an illustrious achievement spanning over 20 years, his art is infused with his passion toward the subjects he brings live to on his canvasses.

Watch as he paints a portrait of Frank Ribery, French midfielder: