It begins with a tick. Then a tock. Faster than a working clock, more like a hyped up metronome. Or maybe more like the beat of a heart falling in love – fast, rushed, on adrenaline.
OCD Love starts with a hushed, ticking percussion as Rebecca Hytting performs a solo dance of angular limbs and arched backs. She is singular yet uncertain, a fitting beginning for a piece that leans into the obsessive and compulsive.
Continue reading The dark despair of “OCD Love”
In 2018, 1984 looms over us. The Orwellian world of “doublespeak” and “Big Brother” seems almost akin to our world of “fake news” and “alternative facts”. So, why watch a dystopian play when we’re already living in one?
Funnily enough, 1984 gives us hope. Like a call to arms, Orwell’s nightmare vision offers a bleak refuge for us. The familiar tale is purposefully confronting; a stark reminder of the darkness found in our modern times.
Continue reading The real world is a dystopia and “1984” is our relief
It is 2007 on a Thursday night, and I am at the old Phuture on Zion Road. “Smack that, all on the floor,” Akon’s hit single Smack That is booming from the club speakers. “Smack that, give me some more,” the song continues. The club is brimming with barely legal teenagers. Couples are gyrating on the crowded dance floor; some of the girls’ bodycon dresses are riding up and the boys pump their fists in the air. I feel self-conscious as I am sandwiched between two tall figures. Even so, I find myself dancing; the air is heavy but the beat is thick.
It is 2017 on a Saturday night, and I am late for Checkpoint Theatre’s Thick Beats for Good Girls.
Continue reading “Thick Beats for Good Girls” keeps it 100
The only thing inevitable about life is death. So why do we focus on leading a good life, without any thought on how to lead a good death?
A Good Death is a one-woman play led by palliative care doctor Dr Leong (Karen Tan) who helps her patients through their final days. Death creeps into her personal life as well, as she worries over the care for her dementia-ridden father. Despite these heavy-handed themes, A Good Death takes on a soft, composed approach, mainly bolstered by Tan’s graceful performance.
Continue reading How to live “A Good Death”