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.
- Samuel L Jackson telling MCU fans to start watching more movies lmao.
- Forget the revolution, millennial burnout is being televised
- Great existential Conan O’Brien interview on NYT: “Two years later, it’s going to be, who’s Conan? This is going to sound grim, but eventually, all our graves go unattended.”
- I don’t care what you think, James Blake’s Assume Form is my new favourite record
- South Koreans aren’t dating (because of well, the patriarchy)
- Say it louder for the people in the back: the best skin-care trick is to be rich
- How to become a TV music booker
- Are you an artist or cultural professional (based in Asia or Europe) looking to go for a festival, residency, training or research trip? Cool opportunity here.
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.