If you type in “blanClass” into Google Maps, it takes you to this seemingly nondescript location. It is in a residential neighbourhood in Yokohama off a main road lined with a McDonald’s, a Daiso and a car dealership. With the Japanese winter still persistent, I arrived at Idogaya station on a wet gloomy 15th of February. I made my way towards blanClass to attend Heights Takayama, part of TPAM Fringe.
I’m very excited to announce that I’m heading to TPAM Performing Arts Meeting in Yokohama, Japan for Arts Equator! I’ll be there from 12-18 February, and will be reviewing a bunch of shows and interviewing and meeting a lot of theatre people in the region. 私はパットです, はじめまして! (I am Pat, nice to meet you!) If you’re there, please say hi. It’ll be my first time so I’m open to suggestions on where to go, and most importantly, where to eat – ha.
Stepping into ANGKAT is like entering another world that seems almost close to home, but not quite. A couple leisurely glides along in a sampan, a man fishes while standing on top of a stool, and a child sits under an umbrella. The backdrop is lit in a luminous purple colour, bathing the cast with a twilight glow. As such, the world of ANGKAT submerges the familiar with the imaginative. Playing with fact and fiction, ANGKAT’s take on the Singapore story is definitive, maybe.
John Berger and Jean Mohr’s essay-book A Fortunate Man was published in 1967. It follows the life of an English country doctor, John Sassall, who killed himself some years after the book was published. More than 50 years later, UK theatre company New Perspective takes on this tale in a play of the same name.