Fukuoka Prize Press Conference

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12 July 2010

This year, the Fukuoka Prize for Arts and Culture will be awarded to ONG Keng Sen, TheatreWorks' Artistic Director. Keng Sen is the first contemporary performance maker / theatre director to receive this award.

The most prestigious in Asia, the Fukuoka Prize, was established to honor outstanding achievements by individuals or groups / organisations in preserving and creating the unique and diverse cultures of Asia. The aim is to foster and increase awareness of the value of Asian cultures as well as to establish a framework within which Asians can learn from, and share with, each other.

Keng Sen is with illustrious company; past laureates include:

Visual artists Cai Quo Ciang, Nam Jun Paik, Xu Bing, Ju Ming, Tang Da Wu;
Film makers Zhang Yi Mou, Hou Hsiao Hsien, Akira Kurosawa, Ann Hui;
Musicians Ravi Shankar, Nusrat Fateh Ali Khan, Kim Duk Soo, Dick Lee;
Writers Pramoedya Ananta Toer, Ba Jin, Mo Yan, Cheng Phon;
Scholars Donald Keene, Clifford Geerz, Wang Guang Wu, Soedarsono, Anthony Reid, Benedict Anderson;
Master Puppeteer Hamzah Awang;
Cartoonist Lat; and
Micro banker Mohamed Yunus

Keng Sen will receive the prize personally at the ceremony in Fukuoka on 16 September 2010.

 
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Exhibition, Performance 
8 April – 1 May 2010 
 
Evolution is at the heart of TheatreWorks, one of Singapore's longest-running theatre companies. For its landmark 25th year, it celebrates the ties that have shaped its journey so far in the Friends' Season: Tenderness For The Future. 
 
From 8th April to 1st May at 72-13, it kicks off with the Opening Exhibition. A video installation tracing the artistic evolution of this pioneering company to its present position as an incubator and platform for inter-disciplinary artists who negotiate artistic boundaries. Through the season, there will be three photo exhibitions which will evoke the spirit of the company's expansive experience. 
 
The season continues with two international productions — Memory by the Beijing renowned artistic pair, choreographer Wen Hui and documentary filmmaker Wu Wen Guang in remembrance of the Cultural Revolution as well as Miss Very Wagner by ingenious Swedish performer Charlotte Engelkes who lives Wagner heroines — which reflect the threads of connectivity TheatreWorks maintains with the international art world. 
 
It will round off on a note close to home. Artistic Director Ong Keng Sen shares a work-in-progress tentatively titled The Red Ballerina (subsequently retitled as Goh Lay Kuan & Kuo Pao Kun), a documentary performance based on the life of living legend Madam Goh Lay Kuan, a pioneer dance artist, a Cultural Medallion recipient, and the wife of late theatre doyen Kuo Pao Kun.
 
Since 1985, 2500 friends has collaborated with TheatreWorks in the fields of production, technical, design and performance. This startling discovery prompted the idea of this season. what's left after art, hard work, blood, sweat and tears? Friends and Tenderness. 
 
Event information
 
Opening Exhibition 
9 – 11 April 2010
12pm – 10pm 
Free admission
 
Photography Exhibition (changing every week) 
15 – 17 April 2010 (A New Order) 
22 – 24 April 2010 (Time Capsule) 
29 April – 1 May 2010 (Excavation) 
12pm – 10pm 
Free admission
 
Memory
Living Dance Studio (Beijing) 
16 & 17 April 2010 
8pm 
 
Miss Very Wagner 
Charlotte Engelkes (Stockholm) 
23 & 24 April 2010 
8pm 
 
The Red Ballerina (subsequently retitled as Goh Lay Kuan & Kuo Pao Kun) 
Ong Keng Sen / TheatreWorks (Singapore) 
29 April – 1 May 2010 
8pm 
Free admission

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For its 25th year, TheatreWorks is giving its new and long-time audiences an opportunity to encounter some of its landmark productions in the Opening Exhibition held at 72-13 in Mohamed Sultan Road.

Filmed footage of iconic works like 3 Children (1988), Lao Jiu (1993) and Geisha (2006), where Eastern and Western cultures met in dialogue, will be displayed on a plethora of flat-screen televisions and wall projections. TheatreWorks has entertained Singapore (Private Parts 1992), has negotiated local censorship boundaries (The Lady Of Soul And The S Machine 1993) and has challenged accepted social mores (Mergers And Accusations 1993). The company ambivalently provided a mirror to Singaporeans about castration (Descendants Of The Admiral Eunuch 1995) and about their attitude to Indian foreign workers (Workhorse Afloat 1997).

Endlessly hungry for fresh experiences, TheatreWorks played with time and space creating 48-hour festivals such as Insomnia48 at The Arts House in 2004.  The company pioneered new sites of performance such as the Suntec City Fountain (audiences wore raincoats to brave the floods of water in Destinies Of Flowers In The Mirror 1997), a Chinatown shophouse (The Yang Family 1996) and an underground bunker used by the besieged British forces in World War 2 (Longing 1994). Fort Canning Park has never looked back since Broken Birds (1995), a documentary performance about the Japanese ladies of the night or karayuki-sans, not only has it become the site for ballets, concerts, screenings, Shakespeare; the karayuki-sans were finally acknowledged with a place in the history of Singapore in the National Museum. Perhaps for this reason alone, it was necessary to perform their narratives, a recognition that Singapore was also the home to these foreign workers who died far away from their birthplace. Moving beyond local obsessions, this production provided evidence that Singapore was global long before.

However unknown to many, TheatreWorks is probably the most widely studied Singapore theatre company in international universities through its intercultural Asian productions. Productions such as Lear (1997) are still actively discussed, critiqued and emulated.

TheatreWorks was the first company to collaborate extensively with Asian artists from 1991 — it started the Asian contemporary wave which revolutionised the presentation of international works in Singapore, making popular "New Asia" as a branding.

Emphasis for the Opening Exhibition has also been put into the productions that Singapore audiences have never seen before from the home-grown company that put Singapore on the international art map in diverse performance festivals from New York City to Paris to Istanbul. Material such as the company’s helming of the In-Transit festival created by Ong Keng Sen in Berlin 2002; Search Hamlet (2002) created site-specifically for the famous Kronburg castle, the "original" Hamlet castle in Denmark; the recent Vivien And The Shadows (2008) about acts of copying, in this case copying Vivien Leigh in the film "The Streetcar Named Desire".

The Opening Exhibition draws primarily from the 1990s, being that the 1980s often had inadequate video documentation and that the last ten years are still recent memory. Rather than nostalgia, Ong talks about the necessity of cultivating a sense of history about the company’s artistic journey in the last 25 years. There is a sense of urgency, not so much to preserve but to pave the way for future generations of artists.

Photography Exhibition

Showcasing over 36 productions,
In 3 weeks,
From 1 theatre company.

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15 – 17 April 2010
"A NEW ORDER"
Fanshen (1985)
Not Afraid To Remember (1986)
The Dance And The Railroad (1990)
Madame Mao Memories (1991)
Fried Rice Paradise (1991)
Alter Art (1991)
Lest The Demons Get To Me (1992)
Theatre Carnival On The Hill (1992)
Mergers And Accusations (1993)
PIE (1999)
Balance (2003)
Lim Tzay Chuen (2003)
Ma: Moment (2004)

22 – 24 April 2010
"TIME CAPSULE to be opened 2035"
To My Heart With Smiles (1989)
Retrospective Of Singapore Playwriting (1990)
Ozone (1991) 
George Bigot, Theatre du Soleil Workshop (1992)
Longing (1994)
Wills And Successions (1995)
Got to Go (1998)

 

29 April – 1 May 2010
"EXCAVATION"
Be My Sushi Tonight (1985)
Rashomon (1986)
The Maids (1986)
Trojan Women (1991)
Trip To The South (1991)
Three Fat Virgins (1992)
Wayang Kulit (1993)
Scorpion Orchid (1994)
Amah Cheh (from Longing 1994)
Desdemona (2000)
Comrade Mayor (2002)
Pulse (2003)
The Continuum: Beyond The Killing Fields (2001 - )

Re-look, re-imagine and rediscover these threads of memories spun in a photography installation showcasing landmarks from TheatreWorks over the last 25 years.

Each week, for 3 consecutive weeks, there will be a core of different productions exhibited. Each of them marks a significant moment in the theatrical history of one of Singapore’s longest-running theatre company.

In the first week — "A New Order", seven iconic representations will be portrayed where one only recognises shades of these familiar, and much loved works. Be it through collages, or digitally manipulated multiples of selves, A New Order stages creative portraits of these past productions, evoking emotions and stirring the imagination.

Come the second week, the installation enters a "Time Capsule". Seven life-sized pods contain the seeds of visionary projects, whose time belongs in the future. These bold, boundary-pushing works are chosen for their influence on what can become art. Glimpse the future of art in the painted faces of actors; these are the stages of a past time to come.

For the third week — "Excavation", 72-13 will be transformed into an archaeological site, where visitors roam seven excavation areas to rediscover photographs belonging to past productions. Between the sites, there are visual insights behind the scenes. These hidden gems expose, process and record; come celebrate the beauty of the residue.

The installation is conceived and curated by filmmaker Tania Sng, 36, who has not seen or been part of most of the performances TheatreWorks has staged over the last few decades. A bold decision to encounter the future, the installation was created not on sentimentality, but a determination to cultivate based on the strengths of resonance and imagination.

To learn more about Tania Sng, click here.

Memory

Living Dance Studio / Wen Hui / Wu Wen Guang
Beijing

 

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A giant mosquito net hangs above the stage.
A shroud for remembering.
A 1960s pedal-operated sewing machine.
An attempt to string together individual memories to patchwork a piece of history.

Three artists — a choreographer, a dancer, a documentary filmmaker — come together to remember the rise of modern China, from the 1960s to the Cultural Revolution.

Negotiating time, memory and subjective realities, the three artists embrace and confront the act of remembering.

Part of TheatreWorks’ Friends Season — Tenderness For The Future, Memory reflects the company’s interest in the deep engagement artists keep with history, performance and cultural memory. TheatreWorks first collaborated with Wu Wen Guang (documentary filmmaker) and Wen Hui (choreographer) in 1997, Workhorse Afloat. Since then, the friendship has deepened with The Flying Circus Project and other international workshops/labs curated by TheatreWorks. In 2007, Ong Keng Sen served as mentor in their May dance festival in Caocangdi, Beijing.

Memory premiered in August 2008 at the Biennale de la Danse, Lyon.

To learn more about the artists, click here.

Miss Very Wagner
Charlotte Engelkes
Stockholm

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A Swedish performance artist.
A dead German composer.
An explosive collision between opera and performance art.

In an extravagant one-woman show, Charlotte Engelkes takes on the heroines from the operas of Richard Wagner. A playful experiment with monumental myths, she investigates love, war, heaven and earth in a humourous collage of song, text and dance.

This international production by Charlotte Engelkes, a frequent collaborator with TheatreWorks, is presented as part of the company’s 25th year, The Friends’ Season — Tenderness For The Future. Miss Very Wagner, an interdisciplinary work, reflects the creative dexterity, epic individuality and fiery independence of contemporary performance which TheatreWorks values.

Engelkes first collaborated with TheatreWorks in 2002, Search Hamlet in Kronburg Castle (Hamlet’s Castle), Denmark. In the decade long friendship, she collaborated again and again with the company, in 2003 with The Global Soul and in 2008 with Vivien and the Shadows, touring from Budapest to North Carolina, USA.

“Engelkes’ reflections on female experiences in the borderland between adaptability and liberation are a mixture of poetic earnest and mischievous ingenuity that takes one’s breath away. This performance will become legendary.”

- Svenska Dagbladet

”Immense love of opera and common sense is an unexpected combination but is true of Charlotte Engelkes. It hits a serious point and something is told about life, death and love in spite of the hockey helmet on Brunhilde's head. Or because of it.”

- Expressen

“Charlotte Engelkes gives opera a leap forward. For being a performance about dying women, Miss Very Wagner is an incredibly funny story. Engelkes is clearly in her very best and most exhilarating mood when dealing with The Great Manly Art.” 

- Dagens Nyheter

To learn more about Charlotte Engelkes, click here.

The Red Ballerina (subsequently retitled Goh Lay Kuan & Kuo Pao Kun)
a Work-in-Progress
Ong Keng Sen / TheatreWorks
Singapore

 
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She is a dancer, a lover and a fighter.
A lynchpin of dance education in Singapore.
An esteemed choreographer.
The wife of late theatre doyen Kuo Pao Kun.

Director Ong Keng Sen creates a performance portrait of dance pioneer and living icon Madam Goh Lay Kuan in this documentary performance tentatively entitled The Red Ballerina. He collaborates with theatre stalwarts Karen Tan and Lim Kay Tong in this work-in-progress presentation.

In 1985, Ong studied in Practice Performing Arts School started by Mdm Goh and Kuo in 1985. Thereafter, he collaborated consistently with Kuo until 2001. Goh’s, Kuo’s long-treasured friendships have affected Ong deeply and hence also can be seen in the trajectory of TheatreWorks.

Acclaimed for his distinct documentary theatre with works staged in the last two decades such as the internationally renown classic about Cambodia — The Continuum: Beyond The Killing Fields (2001) — which has toured the world for ten years, Red Ballerina is Ong’s first foray in staging a portraiture of someone from his own culture and artistic history. 

This has big meaning for me. I believe an artist can be a lens to perceive a culture and its time. My documentary performances so far have been about stories of people from other cultures. This is the first time it's from our own. She is a living presence, who has continued her dialogue with art and society, she is still actively engaged.

- Ong Keng Sen, concept and direction

Conceived and directed by Ong Keng Sen
Text by Goh Lay Kuan & Kuo Pao Kun

With Karen Tan as Goh Lay Kuan & Lim Kay Tong as Kuo Pao Kun
 

To learn more about the artists, click here.

With support from National Arts Council, Hong Leong Foundation, Hua Thye Chan Productions, Double Six Press Pte Ltd and Link Hotel Singapore.

Research, Process, and Discourse

6 – 13 January 2010 in Phnom Penh and Siem Reap

14 – 17 January 2010 in Singapore

Free admission

The Flying Circus Project (FCP), conceived and curated by Ong Keng Sen, began with three editions that were a geographical survey of Asia, with artists coming from Burma, Indonesia, Thailand, Vietnam, Cambodia, Laos, Malaysia, Philippines, Singapore, Taiwan, Korea, Japan, India and China (alpha order please).  

 

The FCP started primarily with a group of urban Asian artists who were outside of the traditional arts of their countries/Asia but were interested in reinventing tradition, conceptualising its place in contemporary arts, looking at the parallels between the traditional cosmos and contemporary life.  

 

The first edition in 1996 began with much physical training.  1998 saw the moving away from the aesthetics of intercultural performance into the politics of intercultural performance.  There was the introduction of visual artists, artists crossing borders in traditional arts (such as women practising kathakali, young “masters” searching for new pathways, traditional musicians crossing over into pop idols).  2000 was the culmination of the geographical survey with 20 Tibetan monks (from Yunnan, China) joining contemporary artists in exploring rituals of spirituality and rituals of daily contemporary life (including club trance musicians).  

 

2002/3 was the final year of all Asian artists but it was also the first time that FCP moved out of Singapore.  It evolved into an 18-month project where one visiting artist a month worked and collaborated with the residents of the royal town, Luang Prabang in Laos.  

 

In 2004, Ong began to perceive Asia more as the site where artists would continue their conversations. The process started in 1996 had been achieved in part, i.e. to begin the collaborative processes between Asian artists, who due to the development of contemporary arts had often looked towards Europe and the US.  However after 8 years, there was the danger that a “ghetto” was developing, there was a need to make porous the new borders that were emerging. 

 

Hence the FCP in 2004 invited artists working in diverse cities in  Asia, Europe, as well as Beirut, Jerusalem, and New York: Benoit Lachambre, Bilal Kbeiz, Fanny & Alexander, Jan Ritsema, Jerome Bel, Jumana El Aboud,  la Ribot, Lina Saneh, Otobong Nkanga, Raeda Sadeh, Rabih Mroue, Tony Chakar and Walid Raad. This opened a new door. 

 

In the 6th lab, artists visited Vietnam under the Flying Circus Project 2007 — Travelogue.  This was a contextualised conversation in a specific site to explore the issues of memory, transformation, and the local. Brian Gothong Tan, Caden Manson, David Subal, DJ Spooky, Jun Nguyen-Hatsushiba, Koosil-Ja, Melati Suryodarmo, Meg Stuart, Michikazu Matsune, Nibroll, Rachid Ouramdane and Raqs Media Collective participated; travelling between Singapore and Vietnam.  In January 2010, FCP continues in Cambodia and Singapore.

“Dear Airan, Ashok, Eszter, Filiz, Gurur, hafiz, Heman, Hu Fang, Janez, Janez, Jecko, Manuel, Mustafa, Nelisiwe, Tarek, Tim, Vlatka, Zul,

AFTER PEACE, POST-RUPTURE

welcome to Singapore and to the Cambodian ALTER U. I am so very happy that you could all join us in this programme.

Perhaps it is time to give you some background information about this specific project. perhaps it is better to start with the experimental project in Cambodia as this is the first stage of our work together.

I have been going back and forth between Cambodia and Singapore since 1992 when free elections were conducted by the united nations. in 2000, I revisited Phnom Penh to invite some artists to the flying circus project 2000. There I met several mature dancers who had been through the “concentration camps” of the Khmer Rouge regime led by pol pot. as you all know, pol pot wanted to bring Cambodia to year zero, to set the country back on the agrarian track of progress. this meant that all urban citizens of Cambodia were sent for reeducation. Special targets were artists; intellectuals; people who wore glasses, spoke french, who were married to intellectuals. they all became political prisoners. anybody related to the royal court was viewed as enemies of the people, this included the troupe of 300 some royal musicians and dancers. 1.6 mil people were alleged to have died from the Khmer Rouge regime during those four years of 1975 – 79. 

The war crime trials of those four years are finally being held in Phnom Penh since last year. at the moment, the first accused duch who ran the infamous S-21, the Phnom Penh centre for political prisoners is ongoing (judgement will be given in march 2010).

The artists that I met in 2000 and subsequently worked with to create a work ‘the continuum: beyond the killing fields’ were court dancers and artists sent to the killing fields. since then, we have collaborated with other artists in Cambodia such as Ly Daravuth from reyum gallery whom we invited with "seams of change" (an archive of Cambodia dress in everyday life) to Singapore and to a school of politics (the flying circus project special edition 2005) at the Yokohama Triennale. Through the arts network Asia – a peer group of Asian artists in different disciplines and cultural managers, workers who give out microgrants for cultural work and artistic processes across borders in Asia – Cambodian projects have also been funded such as the street kids and hip hop/rap project tiny toones (read more under http://www.artsnetworkasia.org). we have continued our research in Cambodia during this last decade and you will meet some of these cultural workers, researchers and artists during our stay in Cambodia.

Since 2005, we have encountered the next generation of artists born AFTER the war, who have graduated from the University of Phnom Penh in different arts and creative fields, the twenty-somethings. they are not interested in the ongoing trials and they want to move forward from the war. They have a desire to make contemporary work but have not been much exposed to creative strategies from artists who work organically, naturally in communities and environments of contemporary art. their narrative is very different from the generation of mature artists who were directly affected during the war and targeted for their artistry. These twenty-something artists studied preservation and conservation of the arts that were almost lost, now preciously guarded and reinstalled back in Cambodian culture. there is hence a fundamental disconnect from art and daily life as the focus has been on classical and traditional (folk) Cambodian culture in their training. 

But the generations of young artists often want more than the classical or the traditional. they are curious and are inevitably drawn to contemporary expressions in dance (the concentrated amrita group of participants) and for the bophana lab participants there is a desire to express themselves through the tools of the everyday which they are immersed in. this second loose group of participants are mostly emerging in their practices. They comprise journalists, filmmakers, visual artists, fashion designers, writers, architects and anthropologists. Cambodia today is a lively mix of expats, diaspora returnees from the US and France (often escaping from the civil war in Cambodia as young children and after studies abroad, coming back to experience Cambodia) and young Cambodians who are growing up in a complete context from their parents’ generation.

ALTERU is a test project of alternative universities which situates itself in the multiple gaps in Cambodia today. it was prompted by the hunger and the need expressed by many young Cambodians. it is a study project created by artists for artists. it is aimed at sharing experiences in contemporary making, including our responses to dance, memory and archive in our personal work.

Thus far, we have done two pilot programmes with the amrita lab and the bophana lab in November 2009. we brought together Singapore choreographer Joavien Ng, manila choreographer donna Miranda and Istanbul filmmaker/contemporary artist Kutlug Ataman to work with amrita. Singapore filmmaker Jasmine Ng and myself conducted an intense workshop for the bophana lab where we worked directly with the archives of bophana. i personally experienced a lot from my direct exposure to the bophana participants.

Perhaps some websites maybe relevant here and the wonderful work they do:
http://www.amritaperformingarts.org
http://www.bophana.org

See u tonight at 72-13 where we will talk more about the planning of the ALTERU.

 

hug, Keng Sen"

- Ong Keng Sen, Curator FCP 2010

FCP 2010: Phnom Penh and Siem Reap Programme

6 January 2010

  • Arrival and visit to Bophana Audiovisual Resource Center initiated by Rithy Pan.

 

7 January 2010

  • Alter U begins at Amrita Performing Arts initiated by Fred Frumberg.

  • Reyum Institute of Arts and Culture led by Daravuth Ly.

 

8 January 2010

  • Visit to Tiny Toones initiated by KK — hip-hop and getting vulnerable kids off the streets, away from drugs, exploitation, HIV, violence and gangs.  

  • Alter U programme continues at Amrita and Bophana

 

9 January 2010

  • Visit to Khmer Arts Academy led by Sophiline Cheam.

  • Alter U programme continues at Amrita and Bophana

 

10 January 2010

  • Alter U programme continues at Amrita and Bophana

 

11 – 13 January 2010

  • Alter U travels together with Cambodian participants from Amrita and Bophana to Siem Reap/Angkor Wat

  • Cambodia Living Arts led by Phloeun Prim — programme with masters artists

  • Tea Tables — closure of Alter U

 

FCP 2010: Singapore Programme

16 January 2010

11am till late

Superintense is a marathon of personal strategies of creativity in the urban context, in our worlds. From one morning to the next, all the FCP artists will have an hour each to present their work. their practice to themselves and a public audience. A table, a projector, a microphone, an audience; which can all be reconstructed into an open space — the same conditions are given to each artist. They are invited to share their practice with the audience; past work, present work, future work. It can take the form of a talk, a lecture-demonstration. a performance, slides, a video, a DJ session, a workshop, a discussion. Without a break, all the artists relentlessly articulate their practice, communicating an insight to the myriad ways of inhabiting, dissolving, thinking, making, living, destroying, rejuvenating. An actor, an audience, a shared space. Take a cigarette pause on the run. 

 

Artists for the Flying Circus Project 2010 

Airan Berg 

Ashok Sukumaran

Eszter Salamon
Filiz Sizanli

Gurur Ertem

Hafiz Dhaou

Heman Chong

Hu Fang

Janez Jansa (Davide Grassi and Emil Hryatin)

Jecko Siompo

Manuel Pelmus

Mustafa Kaplan

Nelisiwe Xaba

Ong Keng Sen

Tarek Atoui
Tim Etchells
Vlatka Horvat

Zulkifle Mahmod

To learn more about the artists, click here.

Click here to access the FCP 2010 blog.

 

Main funding from The Ford Foundation, Asian Cultural Council with special funds from The Rockefeller Foundation. With support from National Arts Council, The French Embassy, Lee Foundation, Arts Fund and Goethe-institut Singapore. With additional support from Double Six Press Pte Ltd, Perfectus AV Pte Ltd and Webvisions. Official Hotel: Copthorne King's Hotel Singapore.

COLLAB Theatre Ensemble - Metamorphoses

 

Open Call

 

72-13's Open Call supported the creative process of COLLAB

Theatre Ensemble’s Metamorphoses. COLLAB Theatre Ensemble is a non-profit theatre company dedicated to producing quality ensemble-based theatre works reflective of and meaningful to contemporary and diverse Singapore. Metamorphoses is COLLAB’s inaugural production. COLLAB

was founded by eight professional actors: Isabella Chiam, Hang Rian Chou, Jasmine Koh, Ghazali Muzakir, Judy Ngo, Daphne Ong, Eleanor Tan, and Tan Shou Chen.

The award-winning Metamorphoses by Mary Zimmerman is a playful and contemporary retelling of the evocative and timeless myths as told by Roman poet Ovid. These compelling stories, at times haunting, at times cheeky, offer a captivating reflection of the human condition. Both sensually beautiful and darkly macabre, these narratives are as human as they are immortal. This fresh staging by COLLAB Theatre Ensemble was performed from 7 to 10 Oct 2010 at The Substation Theatre.

With support from 72-13.