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I know we’ve barely even met, and I hope you’ll forgive me for saying this. Because I want to say… it’s terrifying—to live. That we’re expected to imagine how we are to go on living, when we know what we know. About the world. About the way we’re going, about how little control we really have.
Weather changes are converging on the equator. Fish are boiling, beaches are drowning, seashells are breaking, and palm trees are coming down. Meanwhile a mother searches for a lost son, humans look for otters, and a Merlion keeps track of change. There is a timeline, or a deadline...
Start Sales Date
23 Nov 2020, 9am
Performed in English
1 hour 40 minutes
SISTIC Live stream on 23 Jan. Film begins at 12am, viewable until 29 Jan 11.59pm.
Rating: M18 (Mature Content and Coarse Language) - Sistic Live
Rating: Restricted 18 (Mature Content and Coarse Language) - In-Venue
Rating / Age Limit
- Advisory: Restricted 18 (Mature Content and Coarse Language)
- No admission for infants in arms and children below 13 years old.
- Children 13 years and above must purchase ticket for entry.
- Admission is subject to tickets produced at the entrance.
Late Seating Advisory
- Please be seated 15 minutes before the performance start time.
- There will be no admission into the venue once the performance has commenced.
- Admission may only be permitted during a suitable pause, depending on the nature of the performance.
Photography / Video Recording Rules
- No photography is allowed for this event.
- No unauthorised flash photography, video recording and audio recording is allowed for this event.
- Please note that photographs and videos of patrons may be taken at this event for use in our archival and publicity material.
The health and safety of everyone at the theatre is our top priority. As such, we seek your cooperation to maintain the following safety measures, so that you can have a pleasant and secure experience at the theatre.
- TraceTogether is required for entry, as this is necessary for any contact-tracing procedures, if required. Please collect your token or download the mobile phone application prior to your visit to the theatre.
- For purposes of crowd control, please keep to the staggered arrival timing (if any) as indicated in the event reminder.
- Please keep your face mask on at all times and maintain at least a one metre distance from other patrons.
- Temperature taking is required before entry into the theatre. Our front of house staff will be on site to assist with this.
- Please feel free to use the hand sanitisers available around the venue.
- Please proceed directly to your seat upon entering the theatre, and refrain from mingling with other groups of patrons.
- To minimise contact, there will be no physical copies of the programme. You are encouraged to download the programme for the production via the link indicated in your event reminder. Alternatively, please email us at email@example.com to request for a link to the programme.
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PRODUCTION STAGE MANAGER – CHEE MEI RONG
Mei Rong is a multifaceted personality who refuses to be defined. Her diverse experience in events ranging from music to theatre has brought her to different countries and communities. She is also marbles over Marble.
SOUND ENGINEER – PUNG KI MAY
Pung Ki May is a musician and audio engineer with a Diploma in Audio Production from Lasalle. Recent theatre credits include precise purpose of being broken (M1 Singapore Fringe Festival 2019) and the musical Aida (The LASALLE Show 2019). She is currently a full time sound engineer at High Notes.
SOUND DESIGNER – VIVIAN WANG
Composer, sound artist and musician Vivian Wang explores intermediate spaces, and works across a range of sonic intersections in art, culture and space. Her main instruments are synth, voice, electronics, field recording and prepared objects. She is a founding member of experimental rock group The Observatory. Wang’s progression into immersive sound involving sonic research and design can be seen in Priests & Programmers, a 16 channel sound installation commissioned for the inaugural Sharjah Architecture Triennial 2019, and with U5 art collective, a multichannel durational piece House of Sentiments at the Bern Kunstmuseum. Wang is active in performance, sound-related research and continues to compose for film, theatre and new media. She appears on Utech Records as ARCN TEMPL and on Sacred Bones with Jenny Hval. Schichtarbeiten, composed for a photo series by Philipp Aldrup, is her only solo release.
LIGHTING DESIGNER – HUANG XIANGBIN
Xiangbin holds a degree in Engineering, but decided that engineer life is not for him, since he first stepped foot into theatre, 15 years ago. Over the years, he has taken on multiple roles from management to being an operator.
Recently, Xiangbin works more as a technical manager and a lighting designer/coordinator with different companies, like Pangdemonium Theatre Co. Ltd, TheatreWorks, The Finger Players. Lighting credits include Child's Play (3Pumpkins and Danny Yeo), ChinaTown Crossing (Drama Box), 九歌 (Siong Leng Music Association, co-design with Gabriel Chan), and For Lack of a Better Word (installation, SIFA open 2017).
DIRECTOR – KOH WAN CHING
Wan Ching is a performer, theatre maker and acting teacher. Acting credits include Tartuffe by Nine Years Theatre, Manifesto by The Necessary Stage, and The Immortal Sole choreographed by Edith Podesta. Directing credits include precise purpose of being broken, independently produced at the M1 Singapore Fringe Festival, and co-direction for tanah.air 水土: a play in two parts presented by Drama Box. She has trained with SITI Company and is a graduate of the inaugural SITI Conservatory Program for international theatre artists.
PLAYWRIGHT – ANDREW SUTHERLAND
Andrew holds a BA (First Class Hons) Acting from LASALLE College of the Arts and works as a performance maker and writer between Western Australia and Singapore. He has twice been awarded Western Australia's Blaz Award for New Writing and makes up one half of indie theatre outfit Squid Vicious (@squidvicioustheatre), which focuses on Queer, intercultural and collaborative theatre practices. With Squid Vicious: Poorly Drawn Shark, Cephalopod, Jiangshi, the Mermaid Distance Project, and as director for Haresh Sharma's godeatgod and Vidya Rajan's upcoming small & cute oh no. His other works include 30 Day Free Trial (with Charlotte Otton), Unveiling: Gay Sex for Endtimes (Renegade Productions), Chrysanthemum Gate (with Chanel Chan), and Ragnarok (Skinned Knee Productions). Dramaturgy credits include Hayat (Pink Gajah Theatre) and Future's Eve (Hey, Precious!). His poetry, fiction and non-fiction have been published in a raft of literary journals and anthologies, including Overland (Fair Australia Prize 2017 recipient), Westerly, Cordite, Scum Mag, Verity La, and with Margaret River Press. He has been a theatre educator for a range of organisations including the Black Swan State Theatre Company, WA Youth Theatre Co., and Australian Theatre for Young People.
CAST – GRACE KALAISELVI
Grace Kalaiselvi, an Intercultural Theatre Institute graduate, works as a freelance actor, creator, director, and writer. Some of her own creations include Angry Indian Women (2020) and Touch Me Not (2019, Goddesses of Words series with The Arts House), Buaya-Buaya in Kurtas (2019) and The Old Fogies (2018, Esplanade Presents: Octoburst!). Grace also acted in Four Horse Road (2020, The Theatre Practice) Miss British (2019, Esplanade Presents: The Studios) and precise purpose of being broken (2019, M1 Singapore Fringe Festival). She has also directed Three Fat Virgins Unassembled (3FVU) (2019) and The Good Farmer (2018) for T:>Works. She initiated and is part of Brown Voices, a playwrighting collective.
CAST – IRFAN KASBAN
Irfan Kasban's desire to find peace guides his artistic trajectory in various mediums and disciplines. Through writing, directing, designing, and performing, he hopes to create intricate worlds as a way to make sense of this universe.
A freelance professional since 2006, Irfan humbly offers his energies by celebrating the collision of space and time. Presently he is interested in performance as ritual healing.
CAST – JERAMY LIM
Jeramy has collaborated with W!LD RICE, T:>Works (formerly known as TheatreWorks), The Second Breakfast Company, Intercultural Theatre Institute, GroundZ-0, Théâtre du Rêve Expérimental (Beijing), and Company SJ (Dublin). He is also one of the co-founders of local theatre collective, The Assembly Point. Jeramy has written and directed for stage and creates solo performance work centered around queer issues. He holds a First Class BA(Hons) in Acting from LASALLE College of the Arts, Singapore.
CAST – LIZ SERGEANT TAN
After graduating as part of the first cohort at School of the Arts, Singapore, Liz went on to train at the Intercultural Theatre Institute (Singapore). Liz has been proud to continue her intercultural training by performing and dancing with Chowk Productions. Some of her recent shows include Caught (Singapore Repertory Theatre), Four Horse Road (The Theatre Practice), The Platform in Singapore and Ahmedabad, and What She Said (Chowk Productions). She is interested in physical theatre and absurd comedy, and feels like now is the perfect time to learn more about using masks in performance. She is currently exploring stage management and creating video content.
CAST – SHAHID NASHEER
Shahid is an actor and aspiring movement artist. Before his BA(Hons) Acting, he took on Theatre Studies and Drama (TSD) at Anglo-Chinese Junior College (ACJC) as one of his GCE A-Level subjects. Being in multiple devised and adapted performances with his fellow young actors throughout his teenage years has anchored his love for stagecraft, physical comedy, and more recently, physical theatre. His recent appearances include Sang Nila Utama at The Bicentennial Experience (2019) and during the T:>Works Festival of Women N.O.W. (2020) as a sound engineer for a trio of experimental works titled Sound Stories.
“Directed by Koh Wan Ching (known for arresting, colourful visuals), the oblique, wandering text is given gorgeous form as the play throws us overboard into a world where climate change discourse is the only thing worth fearing and making conversation about.”
“…a complex play that questions what we are going to do when everything that we know has changed—whether that’s within a domestic relationship, or on a global level.”
—Isaac Tan, Centre 42 Citizen Reviewer
Live Stream : S$15
In-venue : $27