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”
Memories come in fragments. They are never methodically organised or neatly categorised as the way you had first experienced it. When someone asks, “Do you remember?”, it takes a while to jog your memory, to recollect a longgone moment in time. This is what Pangdemonium’s The Father attempts to recreate—a collection of memories in disarray, but bound together by an ailing protagonist’s mind.
Continue reading “The Father”: memories, interrupted
Talk to me and I slap you begins with a tantalising hook – the title itself. It provokes and invites, hinting at a moment of gentle teasing or a possible spark of violence. Someone will get slapped. But nobody will get hurt.
Continue reading “Talk to me and I slap you” begins with a tantalising hook