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The maestro of political plays is back and his latest offering in a decade, Fear of Writing, is a groundbreaking commentary with its finger on the political pulse of Singapore today. In Fear of Writing, a playwright struggles with writer’s block, a director and producer bemoan their failure to get a government license to stage their play, and a father writes to his daughter overseas. Seemingly disparate elements are woven together, while the line between art, performance and reality begin to blur dramatically as the play reaches its chilling conclusion. Fear of Writing is a play that will haunt you while compelling you to decide where you stand on the issues of control and censorship. Written by Tan Tarn How, Fear of Writing was first staged by Theatreworks in 2011 to critical acclaim.
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Explores the vibrant relationships between theatre, cultural politics and social attitudes in a country whose history has many lessons for Western scholars.
Singapore underwent substantial changes during the 14-year tenure of the country's second Prime Minister, Goh Chok Tong (1990-2004). Includes 45 essays that review a range of issues from domestic politics and foreign policy to economic development, society, culture, the arts and media, and assess the legacy of Tong's premiership.
Those Who Can’t, Teach turns the spotlight on the madcap lives of teachers and students in a typical secondary school in Singapore. As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach. Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.
Dragonflies is the story of a family fighting for survival in a hostile world, looking for somewhere to call home, and something that might look like hope. The year is 2021 and climate change is wreaking havoc across the globe. Donald Trump has been re-elected US President for a second term. Brexit is in full effect and causing chaos all over Europe. In the wake of escalating wars in the Middle East, famine in West Africa, and relentless terrorist attacks by radical extremists, the UK—and many nations around the world—has enforced a ban on all immigration. With the coastline around him and life as he knows it crumbling to dust, Leslie Chen is forced to abandon his home in England and mov...
--Selected by The Straits Times as a Classic Singapore Play in 2014-- The swinging 1960s. A nightclub in Singapore. A one night stand that turns into true love. Or not? In Mimi Fan, Singapore playwright Lim Chor Pee weaves together a haunting tale about love, escapism and broken hearts searching for healing. Through the story of a teenage bar girl, Mimi Fan, whose destiny clashes with Chan Fei-Loong, an English-educated overseas Singaporean who has returned home to work, Lim brings to the fore some undeniable and searing truths: true love requires courage, it can be painful, and it can haunt you, despite your best efforts to ignore it. Written by Singapore’s pioneer playwright Lim Chor Pee in 1962, Mimi Fan is considered Singapore’s first English-language play written by a local. It was first staged by the Experimental Theatre Club in 1962 and then restaged by Theatreworks in 1990.
This book offers fascinating insights into the concept of diaspora by presenting a portrait gallery of writers highlighting diasporas on Welsh, Mauritian, Palestinian, Circassian Kurdish, British Sikh, Dutch Hindustani, Indian, Tamil and African experiences. Harjinder Singh Majhail and Sinan Dogan present the world of diasporas in interesting portrayals such as Gulnur’s research into Circassian history lying hidden in Yistanbulako elegy, Enaya’s visits into Milwaukee in Wisconsin where Palestinian Muslim women marry outside their religion because of the non-availability of suitable partners in their community and Harjinder Majhail’s sojourns into J. K. Rowling’s The Casual Vacancy portraying a teenager girl’s brave encounters in British Sikh diaspora. Contributors are Vitor Lopes Andrade, Kimberly Berg, Amenah Jahangeer Chojoo, Gülnur Demirci, Sinan Doğan, Jaswina Elahi, Ruben Gawricharn, Lola Guyot, Nadine Hassouneh, Harjinder Singh Majhail and Enaya Hammad Othman.
Welcome to the surreal world of Boom, where civil servants wake the dead, corpses are terrified of cremation, old women are besieged in their homes, and Ah Bengs still dream of being Superman. Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress. Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life!Theatre Awards in 2009 and is now an ‘O’- and ‘N’-Level Literature text in Singapore schools.
In veteran playwright Desmond Sim’s first collection for students, food and family ground seven heartwarming plays as sons and daughters, fathers and grandmothers fight, heal and find love in the kitchen and around the dining table. This collection includes Drunken Prawns, winner of the first Hewlett Packard/Action Theatre Ten-Minute Play Contest, and other critically acclaimed plays such as Teochew Porridge and The Durian Man and His Daughters, with a foreword by Dr. K.K. Seet.