Be a Friend of Practice, Be a Part of Singapore TheatreFor more information, please visit http://www.practice.org.sg/en/supportus/be-a-donor/The Theatre Practice (TTP) is the longest-standing professional bilingual theatre group in Singapore. In 1965, theatre doyen Kuo Pao Kun and dancer/choreographer Goh Lay Kuan founded Singapore Performing Arts School, The Theatre Practice’s earliest incarnation.As a non-profit arts institution, The Theatre Practice is proud to have countless friends and partners who journeyed with us along the way for more than five decades, sharing our passion for meaningful and quality theatre.It is only with your generous support that we are able to forge ahead with the greatest confidence. Your contribution, big or small, will definitely make a difference.And through our Friend of Practice programme, we intend to recognise your donation in a more meaningful way!For more information, please write to friends@practice.org.sg. 

Created by: Li Xie, Jean Ng, Kok Heng LeunFacilitated by: Li Xie and Kok Heng Leun Created by veteran theatre practitioners and creative team members behind the impactful and popular piece, The Lesson by Drama Box, this original participatory theatre piece will immerse its audience in the complex issues surrounding poverty and inequality. How do we respond?

Written By: Edith Podesta, in collaboration with Young & W!LDDirected By: Edith Podesta“I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.”- The Empty Space, Peter BrookAn empty space. 19 actors. An audience.Is that all it takes for a theatrical event to happen? What is theatre? And can it exist without an audience?In the brand-new Studio @ W!LD RICE, a hitherto empty space, Young & W!LD invites you to enter a world of theatrical ideas and possibilities. Through a constellation of words and images, the company unpacks how theatre is made and how it helps us make sense of the world in we live.Written by acclaimed theatre-maker Edith Podesta in collaboration with Young & W!LD, Anything Can Happen/Something Must Happen is playful, inventive and experimental – a thrilling experience that asks you to suspend your disbelief as you help us transform an empty space into a theatre.Come and be a part of the drama!About Young & W!LDYoung & W!LD is a division of W!LD RICE dedicated to training and nurturing the next generation of Singaporean actors. Under the leadership of award-winning actor and theatre-maker Edith Podesta, this year-long, comprehensive acting programme offers participants the unique opportunity to learn how a professional theatre company creates works, connects with an audience, and engages with the community.

Emily of Emerald HillIvan Heng is one of Singapore’s most acclaimed actors. Glen Goei is one of Singapore’s most celebrated directors. Together, they bring to life one of Singapore theatre’s most iconic characters: Emily Gan, an abandoned girl who overcomes all odds to emerge as the matriarch of a distinguished Peranakan household.Evoking the golden age of Straits-Chinese culture from the 1930s, this new production promises to be the most immersive version of Stella Kon’s enduring classic yet. Step into our theatre and become one of Emily’s guests in her opulent, meticulously kept mansion...In this decadent world, fulfilment for a woman can only be found in her roles as a daughter-in-law, wife, mother and home-maker. So what must she do to succeed? And at what cost? Is Emily a woman trapped by tradition, or a feminist ahead of her time?In 2000, Ivan Heng founded WILD RICE with an electrifying production of this landmark play, in which he first made Emily Gan his own. We can think of nothing more appropriate to commemorate WILD RICE’s new home.“A moving, funny and accomplished piece of theatre.” - The Age, Melbourne“This was a funny, camp, and touching performance, quite deserving of its full house.” - South China Morning Post, Hong Kong“When Glen Goei and Ivan Heng come together in the name of Art, any play can be expected to deliver wit and sensitivity.” - 8 DAYS, Singapore

MerdekaAs the Singapore Bicentennial is celebrated, six young people form a group called Raffles Must Fall to examine our country's colonial legacy. During their gatherings, they pore over forgotten texts and artefacts, re-enacting scenes from the past to better understand the nightmare of subjugation... and the dream of self-determination.Drawing upon a wealth of historical documentation, including speeches, newspaper articles, petitions and songs, "Merdeka / 獨立 /சுதந்திரம்" confronts us with questions about our colonial past and how it still echoes through our present and into our future.Why celebrate the beginning of colonialism rather than its end? Has Singapore gained independence without truly undergoing a process of decolonisation? And if Raffles must fall, what will he take down with him?Written by the award-winning Alfian Sa'at in collaboration with up-and-coming playwright Neo Hai Bin, this provocative and moving new play examines how our history and humanity have been shaped – and shattered – by the forces of colonialism.

Peter Pan in Serangoon GardensWith all the pressures of school and growing up in Singapore, Wendy and her brothers would rather be anywhere else than their stuffy bedroom in Serangoon Gardens. Enter Peter Pan, who promises to take them on an adventure of a lifetime!So up, up and away they go, journeying towards Neverland — an enchanted island where they never have to grow up. Along the way, they meet Ting Tong Bell’s fairy friends, bewitching mermaids and a motley crew of Lost Boys. But they soon discover the dangers lurking in Neverland... in the form of the Buaya-fearing Captain Hook and his fiendish gang of pirates!Directed by Ivan Heng, Peter Pan in Serangoon Gardens is a brand-new musical with a book by Thomas Lim, lyrics by Joel Tan and music by Julian Wong. Led by Pam Oei as Peter Pan and Siti Khalijah Zainal as Captain Hook, our incredible cast – comprising Singapore theatre’s brightest stars and the adorable First Stage Kids – will deliver a show that leaves you thinking Wonderful Thoughts and walking on air!Everyone can do with a little fairy dust in their lives over the holidays. So come with your family and loved ones to close out the year on a magical high!"A night of magic at the theatre… Just take the whole family!" - The Straits Times"One of local theatre's most enduring Christmas traditions." - Today"A perfect year-end treat!" - Popspoken

Fair PlayMoments before they make their entrance into our world, Boy and Girl are each assigned scripts by a Playwright. And as they rehearse for the lives that they will lead, they begin questioning the roles that they have been given.Why are women and men expected to behave in certain ways? How did the world come to be such an unequal place for women and men? Can there be a different way of raising future generations?With this challenging and insightful new comedy by Thomas Lim, one of Singapore theatre’s most exciting talents, we launch our Theatre-In-Education (TIE) programme. By introducing young people to the shared experience of theatre, TIE encourages them to engage with a play’s themes and think about how the issues raised relate to everyday life and the world we live in.Learning outside the classroom has never been this inspiring and fun!About WILD RICE’s Theatre-In-Education ProgrammeTheatre-In-Education (TIE) uses the medium of theatre for educational purposes. The entire experience typically comprises of: •   A show performed by professional actors;•   Facilitated discussions or workshops on the themes and ideas raised by the production; and•   A companion resource pack for teachers.

Siti Khalijah Zainal is a familiar face on the Singapore stage. She’s played a diverse range of roles, including a schizophrenic young woman, an Indonesian domestic worker and Singapore’s first female Malay Prime Minister (not President!). But what challenges has she faced in her career?Inspired by Konstantin Stanislavski’s first handbook on acting, An Actress Prepares follows Siti on a journey through her life in theatre. She candidly shares various affecting and hilarious episodes: learning Chinese dance in primary school, falling in with the cool girls at the Bedok Institute of Technical Education, and being told that she might be ‘too big’ or ‘too Malay’ to get roles.This is Siti as you’ve never seen her before – raw, vulnerable and achingly honest. In An Actress Prepares, Siti tackles her greatest acting challenge yet: playing herself on stage.An Actress Prepares was commissioned by the Singapore Writers Festival for a one-day performance in 2016.IMDA Rating: Advisory (Some Mature Content) 

Pam Oei likes gay boys. Gay boys like her too. She has always felt irresistibly drawn to them – even as a teenager, before she knew what the term ‘gay’ meant.Over the years, Pam’s adventures have included: coaxing gay boyfriends out of the closet, attending her first gay wedding in 2001, fighting to repeal Section 377A of the Penal Code in 2007, and being the Countdown Queen at Pink Dot every year (though the job is less ‘queen’ and more ‘drill sergeant’!). This makes her a gold-star straight ally and a bona fide faghag.Join Pam and the multiple characters she plays in this rainbow-coloured cabaret. Accompanied by maestro Julian Wong on the piano, Pam will tell jokes, share heart-warming tales and throw in a few torch songs for good measure. Along the way, she’ll demonstrate why she deserves the title of Singapore’s Number One Faghag!IMDA Rating: Restricted 18 (Homosexual Theme)

71-year-old Teck, a grumpy retiree, has just suffered a stroke that leaves him wheelchair-bound. When he insists on moving back home, Jenny, his no-nonsense daughter, hires a young Indonesian domestic worker, Yanti, to look after him.At first, Yanti dutifully follows the strict caregiving regime drawn up by Jenny. But Teck refuses to give up a few of his favourite vices. When Jenny is not around, Yanti gives in to Teck’s demands for fatty, braised pork belly and the occasional cigarette. And yet, somehow, Jenny always knows exactly what is going on...Thrilling, darkly funny and profoundly moving, Thomas Lim’s Supervision holds up a mirror to our modern world with a rapidly ageing population. Would you give up the things you enjoy in exchange for a few more years? Does working in someone else’s home mean giving up your right to privacy? And to what lengths would you go in order to watch over someone you love?IMDA Rating: Advisory (some mature content) 

NADI Singapura presents an epic tale of trial and tribulation, told through Malay percussion, martial arts, dance, prose and song.Prince Fatih of the Kingdom of Sritanmira embarks on a journey of self-discovery, and finds himself lost and betrayed, only to be saved by the power of his parents’ love. His arduous path, filled with sacrifice and pain, leads to a discovery of a forgotten past, promising peace and glory. Featuring a creative team from Singapore, Indonesia and Thailand, Fatih – The Prince & The Drum is the first large-scale commission of a theatre production by Esplanade – Theatres on the Bay at Pesta Raya. An original story and music by Riduan Zalani and NADI Singapura, Fatih – The Prince & The Drum is directed by internationally renowned Indonesian director, Garin Nugroho, who last presented the sold-out Setan Jawa at Pesta Raya in 2017, and written by Zulfadli Rashid. Original Story and Music: Riduan Zalani & NADI SingapuraDirector: Garin Nugroho (Indonesia)Playwright: Zulfadli Rashid Starring: NADI Singapura | Riduan Zalani | Nizar Fauzie | Rizman Putra | Izzathy Halil | Norisham Osman | Wirastuti Susilaningtyas (Indonesia) | Nan Jombang Dance Company (Indonesia)Visit www.esplanade.com/pestaraya for the full festival line-up. 

Carmen, a bold, beautiful and free-spirited Romani woman.Don José, a corporal in the regiment.Escamillo, the self-confident and masculine bullfighter.Living life on her own terms, Carmen is always unafraid of any adventures that come her way – including love. As she soon gets entangled between a jealous corporal and flirtatious toreador, the tempestuous relationship between Carmen, Don José and Escamillo culminates in one of opera’s most gripping finales!An Opera in Four ActsMusic by Georges BizetLibretto by Henri Meilhac and Ludovic HalévySung in French with English and Chinese surtitles

Welcome to the 2025 Singapore Theatre Icon Awards, where we want to pay tribute to YOU! Celebrate with us and witness the unveiling of our industry icon of the year. Would it be the cleaner we pretend was invisible, or the driver we ignore? Or could the accolade be given to the rigger we never see on stage, or the transcriber who’s not even acknowledged? Who are these people beyond their job descriptions—and do we even care?Written by Ellison Tan and directed by Alvin Tan, We Were So Hopeful Then looks at invisibility in our working environment, and invites us to question the rationale and implicit biases of public accolades and garlands. Featuring: Henrik Cheng, Myra Loke, Sindhura Kalidas and Zaaki NasirDramaturg: Melissa LimLighting Designer: Stella CheungMultimedia Designer: Yusri SapariFind out more about Acting Mad, the second production in this series here

Mental illness does not discriminate. Although there is more access to information, many still suffer silently or face stigma when they come out with their illness. What is this experience like for actors in Singapore? Are they expected to just deal with their mental health issues because they are seen as 'tortured artists' and 'so full of drama'?Twenty actors who have experienced or are going through mental health issues were interviewed for this project. Acting Mad is based on the verbatim texts of these interviews. Can sharing our stories, and creating theatre, be a form of solace and support? Featuring: Al-Matin Yatim, Andre Chong, Karen Tan and Masturah OliDirector: Haresh SharmaLighting Designer: Stella CheungText: Haresh Sharma, Harris Albar and Maryam Noorhimli We are conscious that Acting Mad may contain moments pertaining to mental health and suicide that can be distressing for some individuals. If you would like to us to find out more, please do not hesitate to contact us at Tel: 6440 8115 or via email at admin@necessary.orgAll correspondences and communications will be kept strictly private and confidential. Thank you.Find out more about We Were So Hopeful Then, the first production in this series here

This Wayang Peranakan gives insights as to the kind of lives the Peranakan led, post World War II. Most Peranakans lost their men as the Japanese were wary of them being spies for the British since many were English educated. The women were left to fend for themselves and became heads of their respective households.Bibik Besair, Bibik Tengah and Bibik Bongso are sisters, the latter being the child of the second wife.The three of them grew up in the same household, hence they are very close.The songs, incidents, decisions truly reflect the Peranakan way of life during the 50s to the 60s.Bibik Besair has only one son, Khoo Hock Seng, who is married to Helen Sim, a Teochew lady, who graduated from a University in London. Bibik Besair was widowed early and brought her son up all by herself. Hock Seng is a very filial son. When he married Helen, he is torn between his wife and his mother as Helen does not get along with her mother-in-law. Bibik Tengah also had only one son. Both her son and daughter-in-law died in an accident. The dead couple left behind their only son, Tan Poh Chye, who is dim-witted. As he is the only decendant of Bibik Tengah she dotes on him.Bibik Bongsu, is a widow. She is childless and is happy having inherited large sums from her dead husbands.The three of them face various problems daily, relying on each other for comfort and treating each other as soulmates. Ultimately they realised through their adversities that blood is thicker than water.

‘Roaring Good Times’ is a platform for our senior YPPAE Performing Artistes who started cross talk as young as the age of 10, to continue honing their cross talk skills.These artistes will bring about humorous yet meaningful pieces written and adapted by our creative team Ma Gyap Sen, Victor Tan, Low Zhibin, Nam Yunzhou and Kow Xiao Jun etc.Not only can our actors perform, they can also write.YPPAE’s cross talks are always inspired by and revolve greatly around the Singaporean society and life, which the audience can always relate to and resonate with.Cross Talk Master Mr Geng Diansheng and Cross Talk Artiste Mr Geng Qiang, from Qingdao, China, will also be bringing their repertoire to Singapore this year~Other performing artistes include: Lim Hock Lai, Low Zhibin, Nam Yunzhou, Kow Xiao Jun, Choo Ming Jing, Tan Zihan, Tan Yongyu, Voon Ee Sing, Tan Hao Rui etc.Item line-up as follow: “Hello, Uncle!”, “The Art of Speech”, “The Artist”, “Selfish vs Selfless”, “King of Songs”, “I Can Dance” etc.Come join us for an evening with roaring laughters!

Due to an accidental coincidence, Prince Edward and Tom Canty, who looked like eachother, exchanged clothes, which led to the reversal of fate. Living on assumed positions, the two teenagers learned a lot during this period. Prince Edward deeply understood the hardships of the people, and Tom also experienced the hardships of ruling a country.However, Prince Edward and Tom's identity change was discovered by the evil Count. TheCount wanted Tom to become King so that he can rule the country through Tom. The Countthreatened Tom with the life of Tom's friend. At the same time, the Count sent his men to killPrince Edward outside the palace...How will Prince Edward and Tom Canty escape the danger and return to their rightfulpositions?

Paula Vogel's acclaimed play is set in 1960s rural America and explores a teenage girl's coming of age as she navigates a complicated relationship with an older man - her aunt's husband, Peck. This memory play skilfully follows the young girl, Li'l Bit, through her adolescence and college years as part of a family whose notions of parenting are difficult to embrace. Surrounded by pubescent boys and grown men who seem to only think about sex and women's breasts, Li'l Bit never stops looking for love even as she finds herself caught up in the most dangerous love of all.This journey of a woman looking back on her life and her relationship with her aunt’s husband, blurs the line between what is wrong, and what feels right. It's frequently confronting as the writer questions how far we will go to excuse wrong-doing in the name of love. Vignettes from a Greek-style chorus add many moments of levity and pathos to the picture of a family with no bassense ic of the rules of the road.“Ms Vogel has a gift for sustaining humour and pathos at the same time, without trivialising either emotion.” - NY Times“The play is a potent and convincing comment on a taboo subject, and its impact sneaks up on its audience.” - Variety“How I Learned to Drive is on the shortlist of masterworks about sexual abuse, and in the #metoo era, it’s a live grenade onstage.” - The Washington PostRating: Advisory 16

Nimita’s Place is a story of two women, both named Nimita. Two generations apart, yet the two Nimitas face the same quandaries: Is history repeating itself? With the staged reading, director Edith Podesta navigates the real and the fictional by making audible the voices of the readers who have read the book. Weaving in verbatim texts with the book’s narratives, the reader is brought into Nimita’s world as another character. In doing so, the readers’ connections with the characters and themes in Nimita’s Place are revealed.Directed by Edith Podesta. 

WonderlandDevised and performed by: Anderson Secondary SchoolDirected by: Renee Chua Nadine is an outcast in school. She cannot pay for things. Her classmate, Charmaine, realises how Nadine’s world is totally different from hers. She goes down the rabbit hole with Nadine and discovers the secret machinery keeping generations of Nadine’s family financially strapped and "low-class".The GroundDevised and performed by: Anglo-Chinese School (Barker Road)Directed by: Iris Chia-KhanashatA single father is stuck in a strange place. A boy is about to take his PSLE exams. They meet at an intersection, a utopia where time and space suspends... or is this an amusement park with a hidden penalty? Is Hope a seed embedded in our hearts, or is it something we seek and unearth from the ground?