People, Places & Things (2023) - Programme

PEOPLE, PLACES & THINGS

BY DUNCAN MACMILLAN DIRECTED BY TRACIE PANG

PEOPLE, PLACES & THINGS

BY

DUNCAN MACMILLAN

DIRECTED BY TRACIE PANG

STARRING (IN ALPHABETICAL ORDER)

SHONA BENSON REBECCA ASHLEY DASS

REBEKAH SANGEETHA DORAI SHARDA HARRISON

KRISSY JESUDASON KEAGAN KANG SHANE MARDJUKI

VICTORIA MINTEY ADRIAN PANG JAMIL SCHULZE

TAN GUO LIAN SUTTON

ASSISTANT DIRECTOR

TIMOTHY KOH

JAMES TAN LIGHTING

MOVEMENT DIRECTOR

ANDY BENJAMIN CAI

HAIR DESIGN

LEONG LIM #HAIRBYLEONG

PRODUCTION

PHILIP ENGLEHEART

ACCENT COACH

PETRINA KOW

TRACIE PANG

PRODUCED BY

DIRECTED BY TRACIE PANG & ADRIAN PANG

TO 9 APRIL 2023

DRUGS AND ALCOHOL MAKE THE WORLD PERFECT

— PEOPLE, PLACES & THINGS

For many people, theatre is merely entertainment, an occasional distraction, an escape from reality.

In People, Places & Things, we meet Emma, a professional actor, for whom acting is not simply a job or a passion, it is an escape from her reality.

In her real world, she feels too much. Or she feels nothing at all. Unloved, unlovable, unloving, she is “a scream in search of a mouth”.

And this search takes the form of filling her bloodstream with chemicals which, in her own words, “have never let me down, they have always loved me…they make the world perfect.”

Between her stage personas and her substance abuse, she just about stays alive.

And this is where playwright Duncan Macmillan makes an insidious and ingenious case for the correlation between acting and addiction.

For Emma, acting is an obsessive dissociation from her “real self”. In her onstage make-believe worlds, she hungrily embraces every emotion that her transient alternate egos experience. Because even the most dramatic and traumatic of her fictional lives are much more bearable than her real one. For her, acting is a coping mechanism, an existential escape, a shortcut to survival. In other words, an addiction.

The irony is that while drugs and alcohol are a solace from reality, when she is on stage pretending to be anyone other than her, she unwittingly comes face to face with facets of herself that are more true, more real than she allows in her real life. While she compulsively inhabits the fake lives of others to deny her own, she unwittingly is more real than ever.

Pangdemonium believes that theatre, contrary to being an escape, is in fact, a means of confronting reality. This is the age-old adage of theatre holding up a mirror to society.

A mirror to our own real lives - our pain, our fears, our darkness; and also our joys, our hopes, our light.

That’s why Pangdemonium’s mission is to create a safe space to tell stories that dare to disturb, disrupt and discomfit, and hopefully lead us all on a path towards discoveries of our communal human experience; that jolt us all from a collective passivity, expose us all for our flaws and frailties, and challenge us to change; that help us see someone else’s point of view, and share in someone’s else’s journey; that champion struggle, survival and the human spirit; that make us count our blessings, appreciate this world more, and strive to live more meaningful lives.

This is what making theatre does for us, and we humbly hope it does the same for you. Even as we all attempt to recalibrate our lives in the fallout of the pandemic and try to make sense of a world rapidly unravelling.

As a theatre company we are sticking to our guns and continuing to tell stories about real people, exploring aspects of the real world, and examining real lives, real life.

Yes, Emma is struggling with substance abuse. But at the heart of it all, like so many of us, she is struggling with life itself. And we believe you will recognise many people, places and things in People, Places & Things – not just your pain, fears, and darkness, but also your joys, hopes, and light.

Lots of love and thanks to our courageous cast (acting addicts, all), our amazing crew, Creative/Production/ Technical/Stage Management teams, and the brilliant Pangdemonium family. Much gratitude to our fabulous Season Sponsor DBS for your continued faith, and to our production supporters. And many thanks to our fabulous Friends of Pangdemonium.

And, THANK YOU for confronting real life together with us through this addiction called “theatre”.

Lots of love,

INTERVIEW WITH THE PLAYWRIGHT

Can you tell us a little about the writing of People, Places & Things?

It was a confluence of a number of things, one of which was the subject matter and what I perceived of as an inaccuracy in the way addiction is usually treated in popular culture.

Our culture tends to glamorise or stigmatise addicts, make them into morality tales or victim narratives or punch-lines, or otherwise ignore the realities of addiction, both for the addict and those around them. I wanted to write about the process of recovery which is something which tends to be underrepresented in discussions of addiction also a subject which is fraught with controversy and debate. The more I looked into it the more I struggled with some of the central aspects of the support structures offered for addicts.

I found the whole area irreconcilably contradictory, morally, intellectually and emotionally. I wrote the play, in part, as a way of grappling with that contradiction and to find a form for my anxieties and uncertainties on the issue.

On a more practical level, there also seemed to me to be a worthwhile challenge in focusing on recovery. It seemed to me that one of the reasons recovery isn’t always dealt with accurately in popular culture is that it inherently rejects the kind of narrative structure that drama craves – we want a beginning, middle and end with a cathartic pay-off that provides meaning and a clear message. The reality of recovery is that it’s an on-going process with no end. It’s a daily struggle for your whole life. That seemed to me to be a provocative challenge as a writer – to create something without a beginning, middle and end which rendered its content inaccurate or exploitative, but which could deliver a satisfying whole story to an audience.

Award-winning writer of People, Places & Things, Duncan Macmillan, talks about the writing and development of this extraordinary play —

What did you want to achieve through this play as a writer?

One of the appeals of this, as a writer, is that it is not just about what it says about addiction, it goes beyond that. What is it like to be alive now? What is it to negotiate who we are from one moment to another, from one conversation to another. What strategies do we employ to carry on with our day? What is it to find a tribe? These are all huge existentialist questions.

I wanted the play to be subjective in its form. I knew early on that I wanted it to chart the experience of a central protagonist, that that protagonist should be a woman and that we should see and experience everything from her perspective. I very selfconsciously wanted to get away from the default starting-point of a male protagonist and it didn’t feel particularly justifiable for me to simply present a woman from a place of objective judgement while she goes through a personal, private hell. I wanted us to be with her the whole way, to find a way to stage the sensory, emotional and physical extremes she is going through.

Quite apart from the central issue of addiction, I wanted to write a story about mothers and daughters. Stories of fathers and sons are, in some ways, the backbone of drama but stories about mothers and daughters are depressingly rare. I also wanted the play to pass the Bechdel Test (where at least two named women talk to each other about something other than a man). I wanted the central conflict to be genderneutral and not revolve around wanting to get married or finding the right man. It was never intended to be a commercial show; it’s about a difficult person, being difficult to other people who are in a difficult situation! It attempts to pose a lot of complicated and contradictory ideas and the play is quite dense and difficult in that way.

What was the research process like?

A huge amount of research went into the production. We’ve been taken into meetings, heard people’s life stories. There has also been a lot of accidental research too. The play has one of those titles which will mean nothing to most people but it will mean something very specific to a very particular group of people. I’ve had instances where I’ve been in conversation, for example in the queue at an airport or chatting to a hairdresser, where I’ve told someone the title and they’ve shown me a tattoo on their forearm or told me how many years they’ve been sober.

It’s been quite galvanising to hear such brave conversations and the people I’ve spoken to have been incredibly generous with what they’ve told me about their lives. There’s a huge responsibility which comes with dealing with something that effects so many people.

Everybody is connected to addiction in some way, whether it’s themselves, a neighbour, a sibling, a partner. There’s a moment, as a writer, when you embark on a project and suddenly realise the weight of responsibility to deal with the issue accurately, respectfully and without sentiment.

We’d worked closely with a clinic and we invited the people we met there to the final preview in the National Theatre. There’s a moment in the play where the lead character makes a phone call to find a meeting and someone in the audience shouted out good girl! That was essentially press night for us. That we’d accurately represented them was all we could have hoped for.

It’s a serious topic but it has a lot of humour. Was that intentional?

It was absolutely deliberate. We need to be able to talk about depression and suicide in a way which doesn’t make us want to kill ourselves. The only way to do that accurately and to take as many people on board is to make it fun to watch, to normalise it and to take the stigma and taboo out of a very weighty, depressing subject.

It’s something that’s really important for us to talk about, but something we generally don’t want to face. I wanted Emma to have the license to say things honestly without feeling too guarded or judged. I needed to make it as funny as possible to make people stay with her.

What are your thoughts on the play and theatre in general?

There’s a lot in the play about theatre; why a group of strangers would gather in a dark room to hear stories. Why people come together in a room to be a community of people to hear about other people’s lives and to negotiate themselves in position to that. How we are before and how we come out changed. Theatre can remind us that we are all alive, all together, in the present moment and momentarily focus our attention on the difficulties and the complexities of being a human.

On one hand the play is a way of challenging a very particular 12 step process. It also explores theatre as artificial, fake, ridiculous and irresponsible in some ways. It’s irresponsible to make a play about something as broad as addiction or depression, whose real-life structures and complexities don’t conform to tidy narratives. It’s a play largely about the effectiveness and point of theatre. Is it ok for us all to sit in a room and spend money on tickets, travel and childcare, to go and listen to a room full of middle-class people talking about their tiny problems? Is that a worthwhile use of our resources? I’m still very conflicted about that but there’s something about going through the process of writing this play, researching this play, spending time with people who are having the experiences that this play depicts which makes me think that there is something very worthwhile about coming together, to share stories and to take ourselves seriously- thinking about the outside world, our position within it, other people in society, not just us as individuals and the people we relate to and how we relate to them. That’s something theatre does better than any other art form in my opinion – it interrogates, it exposes, it reveals and it responds. At its best it gives our empathy a workout and expands our emotional and intellectual vocabulary.

ALCOHOL ABUSE IN SINGAPORE

Alcohol is the number one addiction in Singapore. The number of people seeking alcohol rehab in Singapore continues to grow. According to the National Addictions Management Service (NAMS), more and more Singaporeans are seeking out professional help for problem drinking each year.

A spokesman for the Singapore Alcoholics Anonymous group said that they have “expanded in recent years to meet the demand from people looking for help. Five years ago, there would only be three meetings a week. Now there are multiple meetings a day.”

Says Dr Gomathinayagam Kandasami, chief of the Addiction Medicine

Department of NAMS, “Whether you develop a drug addiction or alcohol addiction, there is no difference,” he added. “Addiction destroys you and your family, and increases the risk of dying early.”

Drinking to Relieve Social Anxiety

Drinking is considered socially normal to the extent that it’s even seen as a rite of passage – from a young age, we’re often expected to drink. Singaporean youths eagerly anticipate their 18th birthday when they can take their first legal sip of alcohol.

Says Dr Kandasami, “I very rarely find patients who start their drinking alone. Sometimes, they are also introduced to alcohol by their parents or family members, and they find they like the taste of it.”

Studies show that people who struggle with moderate social anxiety often use alcohol as a social lubricant. But not only has this proven harmful to physical health, it also stunts the development of the social skills needed to interact with others without using alcohol as a crutch.

Many people with diagnosable anxiety disorders consciously or unconsciously use drinking as a way to self-medicate.

The Pressure to Drink at Work

According to studies, many people feel obligated to drink with their co-workers, and the pressures surrounding this have to do with reasons outside of the sheer desire for alcohol. There may be a fear that turning down an invitation could cast you in a negative light, making you appear uninterested in forming better relationships with your team. Conversely, accepting an invitation can be seen as a means to earn brownie points with superiors. In fact, one in five office workers drink with their colleagues at least once monthly – and many are driven by a desire to get on the boss’s good side. And of course, there’s the longstanding Asian tradition of drinking as a prerequisite for closing business deals.

Using Alcohol to SelfMedicate Co-occurring Mental Health Disorders

As with any addiction, alcohol is often used as a means of escaping uncomfortable feelings. But this becomes especially troublesome for sufferers of mental health disorders, who may feel compelled to turn to substances in times of severe depression or anxiety. Alcohol abuse, in turn, worsens symptoms of mental illness, creating a viscous cycle of co-occurring addiction that becomes very difficult to break. It’s no accident that depression, obsessive compulsive disorder (OCD) and alcohol abuse are the three most prevalent disorders in Singapore.

Denial and HighFunctioning Alcoholism

Addiction manifests in many ways, and often affects those who may not realise they have a problem. In fact, high-functioning addicts face unique challenges in that they experience higher levels of denial. People who continue to hold down jobs, relationships, family commitments and otherwise demonstrate success in certain areas of their lives may fail to recognise that their substance use is a problem –though they and their loved ones are undoubtedly feeling the effects of it.

Because of this, highfunctioning addicts are more likely to delay seeking addiction treatment. But continuing to abuse alcohol over a longer term further increases health risks and entrenches patterns of addictive behaviour. For these people, wake-up calls often come in the form of serious health issues, legal troubles or family intervention.

Are You a HighFunctioning Alcoholic?

Because substance abuse draws a veil over us, it’s hard to be aware of our own behaviour while we’re under its influence.

Here are some common signs of high-functioning alcoholism:

• Joking about your drinking problems

• Inability to attend social functions without drinking

• Calling in sick to work because of severe hangovers

• Often feeling regret over what you did while blacked out

• Drinking when you don’t intend to, or drinking more than you planned to

• Failing to identify drinking as the source of major life problems

• Justifying and denying your drinking patterns

WE CARE Community Services Ltd

https://www.wecare.org.sg

Kembangan-Chai Chee Community Hub

Tel: 3165 8017

The Cabin Outpatient

https://www.thecabinsingapore.com.sg

Suite 11-02

Novena Medical Centre

Tel: 3158 7621

Alcoholics Anonymous, Singapore

https://www.singaporeaa.org

Tel: 8112 8089

Alcohol abuse is universally damaging. As Dr Robert Huebner of the National Institute on Alcohol Abuse and Alcoholism says, nobody “can drink heavily and maintain major responsibilities over long periods of time. If someone drinks heavily, it is going to catch up with them.”

If you are struggling with alcoholism or any kind of substance addiction – or if you know someone who is – there is help:

MY RECOVERY IS THE BIGGEST BLESSING I HAVE IN MY LIFE TODAY

Gina

“I was in active addiction since I was 13. I started doing drugs and continued using until I was 33. In 2005, I was out getting high and fell 20 feet and broke my back and my wrist, but I stayed out. I was only 70 pounds at that point. My family had to prepare my funeral. I told my mom I was going to die from this disease, that it was my destiny.”

“In addiction, you live in the past of what it was like when you were a kid. It’s a disease that convinces you that you don’t have a disease. It’s cunning, baffling, and powerful.”

Like too many people, substance use disorder had taken over Gina’s life – that is, until one day when she found the inner strength to ask for help.

“I suddenly had a moment of sanity. It was like my head and my heart were both suddenly on the same exact page, and I thought, “What are you doing? This isn’t good.’”

“I had been in rehab 11 times before that day. But that time, I finally said, ‘I’m dying and I need help’.”

“I had a social worker who really fought for me. People would treat me badly. In their terms, I was just a junkie. But my social worker told me, ‘We’re going to fight really hard for you. I need you to fight hard for you.’”

To Gina having a strong support system was crucial, most noteworthy was her family. “Thank goodness for my family. One of the things that breaks my heart is that I was not always there for my family as much as I feel I should have been. I was really being driven by addiction. They supported me through my entire journey.”

A look into the lives of four individuals* who sought treatment for addiction

*In the interests of privacy, all names have been changed.

“Now, I’m going to get my associate’s degree in social work. I don’t really know what else I would do if I didn’t work in the recovery field. I have a group of women in recovery who I know are always going to love me, who will always be there for me.”

“I would say to anyone who thinks they have a problem: There is hope. Don’t give up on it. You are loved. You are somebody.”

Patrick

“There’s a couple of different ways that obsession happens. Some obsessions are just unwanted, repetitive thoughts – they feel like a really intense craving. Then there’s the type that happens but doesn’t have that feeling behind it. It’s just a thought. For me, I could be driving down the road, completely sane, thinking, ‘Oh I’ll just stop for a couple beers.’ And it could end up ruining my life.”

Patrick’s substance abuse began when he was a teenager. And like many types of progress, his improvement did not always happen in a straight line.

“I got in a fight with a policeman at 16 years old. My first rehab was at 17, got kicked out of it after 10 days, then back in there 3 months later. I was 6 or 7 months sober, maybe even a little bit longer. Then I went back out and drank. I got sober again when I was 24. During that period of time I was 11 years’ sober. At 35, my wife and I went through a divorce – and a lot of stuff happened. I just drank. It would take me another 10 years to get more than 30 days sober.”

“I was in and out of Alcoholics Anonymous, that was constant. I would go to meetings and nothing would happen, I would still want to drink. Really bad obsessions. That went on for about 10 years. I lost everything. I lost a really nice house, and my car, and my savings were gone.”

Even though Patrick had hit bottom after bottom, he was unable to stay sober. Eventually he decided to ask for help from his father, who had 28 years sobriety.

“I showed up at my dad’s house. I finally said, ‘I’m broken – I can’t do this anymore.’

“I was able to stay sober for 9 months –meetings every day, really in the middle of the program. But the day came when I drank again. I went into rehab for about 10 days, and I just kept thinking to myself, ‘I’ll do anything, I do not want to drink ever again.’”

The most striking part of Patrick’s personality is his self-awareness, a trait he sharpened while in recovery, and it’s a significant reason why he’s finally found so much success staying sober.

“It was primarily my self-centeredness, my ego, my selfishness, resentments, fear, the things that overwhelm people with drinking problems. There’s got to be an internal surrender for sobriety to happen. It helps for you to be other-centred. Gets you out of yourself. It keeps you really connected to other people.”

“I’ve been going pretty regularly for the past year or two into prisons to meet with people who have a drinking problem. Even though I was never in prison, I can relate to many of them. When I talk, I describe my experience and what happened to me with my recovery. I get a lot of contentment from helping other people. Companionship. Because of that, I have freedom from my addiction.”

“It starts with surrendering. And the first thing in surrendering is asking someone for help. Whatever that help is. And hopefully you get to a place that can offer the help you need. It’s worth it.”

12

Jules

One of addiction’s stereotypes is that it only affects those with dysfunctional families or a history of abuse. But Jules’ story defies those ideas conclusively.

“I wish I had some story to tell you about my horrible, abusive, and neglected childhood. But I don’t. I came from a normal family.”

“Growing up, I had a lot of insecurity. I fought with eating disorders. I couldn’t cope with looking in the mirror. When I was about 15, I started drinking. As soon as I drank, I became a different person. That, to me, was freedom – but it later became a prison.”

“It was my idea to bring drinking to my friends. We went to a competitive secondary school and most kids saw drinking as a social taboo. When we started doing it, everyone else could pick it up and leave it alone until the next time. But I couldn’t do that. I could not understand - why could everyone else stop after the weekend and I was left obsessing about drinking all day every day?”

Jules’ alcohol use started affecting her everyday life. It hindered her from doing the things she loved, it certainly damaged her personal relationships.

“I just kept lowering and lowering my standards. When I went to away to uni, it really took off. I made friends with drug dealers. I was free to drink and use the way I wanted to. It made me feel powerful, like I was unstoppable. And then it stopped working. My alcoholism had progressed to the point in which I couldn’t get drunk anymore. The solution I had found to deal with life had failed me. I had a miscarriage, I was so out of touch I didn’t even know that I was pregnant. I felt alone, confused, and broken. My university asked me to leave and everything came to a halt. It was the catalyst that led me to surrender.”

“I came home and I decided to find a therapist for treatment. I told her all of my problems and she said I was an alcoholic. ‘No.’ I said. ‘There’s no way I’m an alcoholic. Maybe I’m schizophrenic or something?’ I didn’t know I had this body that worked against me. Once I started drinking, I couldn’t stop. If I did manage to stop, my mind told me that I could drink like normal people.”

“My therapist introduced me to my first sponsor who sent me to my first 12 step meeting. I had every excuse not to go. But once I got there, I stayed. I reluctantly kept going. There was something about the people there that I couldn’t put my finger on that kept me going.”

“Getting sober at 21 wasn’t easy. All of my peers were still at college partying while I was embarking on a spiritual journey. It was the most difficult and most brave thing I have ever done.”

“The journey to recovery is about spirituality. It’s not about sobriety. It’s about growing along a spiritual path, and sobriety is a byproduct of that. Living by spiritual principles is not something that other 21-year olds were doing. The recovery community was different then, too. There weren’t as many young people in recovery as there are today. I had to start my life from scratch. Everything that I believed in, everything that I was about, and my perception on life had to change.”

“My recovery has been a journey. As a woman, part of my journey is about finding my voice and figuring out who I am. After nearly a decade of living in recovery, I can tell you that long-term sobriety is not for the faint of heart. A lot has happened in these nine and a half years. At three years of sobriety, I buried my best friend in the world. It broke my heart and healed me in innumerable ways at the same time. I sought spirituality with a desperation that I never had before.”

“The challenge for me now is not to fight urges to drink, but to stay passionate about recovery and excited about spirituality. Longterm sobriety is about constantly seeking – seeking to grow, seeking to help others, and seeking what my truth is and living it. It’s about self-reflection, remaining teachable, staying humble, and not compromising my morals regardless of the worldly consequences.”

Jules’ recovery has been as much about finding herself and living her truth but rather about reclaiming her life from alcoholism. Now with a new life, she has her confidence back.

“My sponsor told me a story once. She was getting her hair cut and this little girl next to her looked at herself in the mirror and said, ‘Oh my God! Look how cute I am!’ And I just thought to myself, that’s how I feel every single day. I’m finally comfortable in my own skin. I know and accept exactly who I am –flaws and all.”

Katie

The first thing one notices about Katie is her confidence. She speaks like she isn’t afraid of anything, but her story of recovery proves she didn’t always exude the same fearlessness.

“My father passed away with 35 years of continuous sobriety. He was an exec, very successful. Had six kids. Even when he was in recovery, we didn’t talk about it. It was like our secret.”

“We were forbidden to drink. But I drank. I got arrested for driving under the influence and went into treatment. I was 22-years old, at Uni, and I thought, ‘I’m not like these people in treatment.’ But I packed up my stuff, and I played the part.”

“Early on, I was staying sober because of my father. I started volunteering at an addiction treatment facility. Started there when I was 22. I was the detox counsellor. Then I was the activities counsellor. Next I was an outpatient counsellor.”

“Then I got pregnant with my twins and couldn’t work. When I had them, I was active in AA for about 10 years and continued working in the field. But I was getting a bit of an ego. Everyone would say, ‘You saved my life.’ I’d say, ‘Of course I did.’ So I started thinking, ‘I don’t need to go to meetings anymore.’ I stopped going.” I ended up drinking when I was 40-years old, after 18 years of being sober. The progression of alcohol is tremendous. If you stop drinking, picking it back up is like you’ve been drinking the whole entire time. I lost my driving license, my marriage broke up, and I was drinking myself to death.”

For Katie, asking for help was very difficult.

“It was very hard for me to go back in. But I became active in AA again. My husband at the time and I were still living together. It was the women in AA who would come over and say, ‘You can do this, Katie. You can’t cohabit. You have to move out.’”

Katie’s path to recovery began by looking outside of herself.

“That’s the advice I would give to somebody who’s struggling: Slow down. Try to do something kind for somebody else. Once I did that, I started feeling like I had a purpose. It gave me more compassion and I became more interested in the solution, not the problem.”

“Because of my active involvement in the program, I’m a better mother, wife, and friend. My overall focus is more on giving to others rather than receiving. My recovery is the biggest blessing I have in my life today.”

CAST (IN ALPHABETICAL ORDER)

Shona Benson

Doctor/Therapist/Mum

Shona is a stage and screen actor and director. Theatre credits include Dragonflies and The Son (Pangdemonium), The Almighty Sometimes (Singapore Repertory Theatre), Queers (Pachyderm), A Shakespeare Celebration (Akshara Theatre); Edmund (Edinburgh Fringe); Still Life (Byre Theatre). TV credits include This Land is Mine and 128 Circle and film credits include Eat Pray Love

Directing credits include Cool Shorts and Get Lost (Lasalle), Green Leaves (Tworks), Exposing Edith (Adelaide Cabaret Festival, Auckland Cabaret Festival, Edinburgh Fringe); Kryptonite (a co-production between the State Theatre Company of South Australia and the Sydney Theatre Company). Orphans (Bakehouse Theatre, nominated for Best Drama and Best Actor in the Critics Circle Awards); Agnes of God (Adelaide Fringe).

Shona also works as a voiceover artist, host and arts writer.

Rebecca Ashley Dass

Laura/Ensemble

Rebecca Ashley Dass is an actor for theatre, television, film and voiceover work. She began her theatre journey at the age of eight, and has had the opportunity to work on many reputable productions, such as Pangdemonium’s Spring Awakening, Singapore Repertory Theatre’s (SRT) Blackbird and Contact, and Esplanade’s PLAYtime! production Together, just to name a few. This year, Rebecca is proud to be a part of Wild Rice’s Hotel, as well as in her second production with Pangdemonium, People, Places & Things. Rebecca is extremely honoured to be a part of this production, and sincerely hopes that you enjoy it.

Rebekah Sangeetha Dorai Ensemble/Understudy (Emma)

Rebekah Sangeetha Dorai is a film, television and stage actor. Between voice-acting for a children’s animated series Puberteens (Finding Pictures, Mediacorp Channel 5), and playing a police chief on television (Vettai, Vasantham), Rebekah is mom to one very cute dog. She is thrilled to be the understudy for the terrific Sharda Harrison, and be part of a talented team.

Onstage, her selected credits include Merdeka (Wild Rice), NDP 2020 (Vocals) & 2021 (Voiceover), No Regrets with Edith Piaf (Singtheatre), Occupation (Checkpoint Theatre), The Bride Knocks Twice (The Theatre Practice) and Sylvia (Pachyderm Theatre). On screen, her film Edith is set to be released spring 2023, and she will next be starring in the 108 Media-produced Moonrise Sunset, slated to premiere globally on major streaming platforms in 2024.

Sharda Harrison Emma

Sharda Harrison is an actor, a television presenter and an arts educator. She graduated from LASALLE College of the Arts with a BA (Hons) in Acting (2009) and an MA in Arts Pedagogy and Practice (2020). Her most recent theatre performance was The Son by Pangdemonium in 2020. Sharda runs an arts collective called Pink Gajah Theatre with their most recent work, Monster, a film which explores gender and identity. Sharda works as an adjunct lecturer at NAFA where she teaches movement and has just curated and consulted on a new programme at LASALLE College of The Arts, on “Communication and Presentation Skills” Sharda has appeared on Channel NewsAsia as a documentary host, notably for Talking Point, and is currently acting on the Mediacorp long form drama, Sunny Side Up as Rose Ortega.

Krissy Jesudason Jodi/Ensemble

Krissy is an actor, producer, teacher and aspiring artist based in Singapore and Bali. She has worked in both theatre and television. She is best known for her work as Tanya on the Singaporean long-running television show Tanglin, where she was nominated as Best Supporting Actress by the Asian Television Awards. Other favourite career highlights are: performing at the Globe Theatre in London, starring in a one-woman show entitled Bitch Boxer in 2022 (HCAC). You might have also seen Krissy in other stage productions, including Memory of Water (Wag the Dog), Merchant of Venice (SRT) and BASH: Latter-day Plays (Phenix Arts) or in Singaporean TV screens on Kin, Avenue 14, Lion Mums and Slow Dancing.

Keagan Kang Foster/Ensemble

Born in Western Australia, Keagan studied at The Performing Arts College WA, began his acting career at the age of 18, and first performed opposite Hollywood actor, Heath Ledger, in Australian TV series Sweat. From leading man on screen and stage, regional commercial advertisements, to international voice campaigns, Keagan has amassed a wealth of experience over an illustrious career of 29 years with a strong base in Singapore.

Through his strong on-screen and stage presence, Keagan has created and cultivated many memorable leading roles in film, television and theatre. Previous productions he has performed in with Pangdemonium include Closer, Dealer’s Choice, The Father, and Waiting for the Host.

Learn more about Keagan at www.keagankang.com

Shane Mardjuki Mark/Ensemble

Shane is delighted to once again be working with Pangdemonium. Some previous works with the company include, End Of The Rainbow, Little Voice, The Pillowman and Swimming with Sharks

Some of his recent work on stage include Tartuffe (Wild Rice) and The Complete Works of William Shakespeare (SRT) On screen some of his recent works include the films

#LookAtMe by Ken Kwek and Geylang (MM2). On television, What on Earth (Stardust) Gunting (Papahan) Dualiti (Adara pictures), Scoop (Hoods Inc), Sleep With Me (Akanga) Pen7uru (Ochre Pictures).

Victoria Mintey

Meredith/Ensemble

Victoria is British/Irish actor, singer and specialist trainer in public speaking. She has called Singapore her home since 2011 where she lives with her husband, Steve, and their two boys.

Victoria trained at Mountview Academy of Theatre Arts in London, gaining her MA in Performance (Musical Theatre). She has worked on a huge variety of stage, screen and voice projects and was a co-founder of Wag the Dog Theatre in 2016.

Singapore credits include: How I Learned to Drive (Wag the Dog Theatre); The Pillowman (Pangdemonium); The Memory of Water (Wag the Dog Theatre); Dragonflies (Pangdemonium!); Romeo and Juliet (SRT); The 39 Steps (Asylum Theatre); A Singaporean in Paris (Sing’Theatre); Twelfth Night (SRT); Fantastic Mr Fox (The Little Company).

Adrian Pang

Paul/Dad

UK theatre includes: Hair; A Midsummer Night’s Dream; The Comedy of Errors; The Magic Fundoshi; A Christmas Carol; Tormented; One for The Road; New Territories; Take Away. Singapore theatre includes: the title roles in Hamlet and Macbeth; Twelfth Night; Forbidden City; They’re Playing Our Song; Boeing Boeing; The God of Carnage; The Weight of Silk on Skin. For Pangdemonium: The Full Monty; Dealer’s Choice; Swimming with Sharks; Next to Normal; Frozen; Tribes; Chinglish; Falling; Rent; The Pillowman; Fun Home; Dragonflies; Peter and the Starcatcher; Late Company; This is What Happens to Pretty Girls; Urinetown.

At the Straits Times Life Theatre Awards Adrian has won the Best Actor Award five times, for The Dresser; Much Ado About Nothing; Rabbit Hole, The LKY Musical; The Son.

The productions he is most proud of are his two sons Zack and Xander.

Jamil Schulze

Shaun/Ensemble

Jamil Schulze (he/him) is a graduate of the BA(First Class Hons) in Acting and currently a student of the MA in Arts Pedagogy and Practice program at LASALLE College of the Arts/Goldsmiths, University of London.

Selected theatre credits include: The Glass Menagerie (Pangdemonium), Lifespan of a Fact (Singapore Repertory Theatre), Make Hantus Great Again (Teater Ekamatra) and Monster (Pink Gajah Theatre and TheatreWorks).

He continues his training under the tutelage of master-teacher and originator of the Michael Chekhov and Mask work in Bali, Per Brahe; and separate from that, is undergoing certification in Intimacy Direction and Coordination with the American initiative, IDC Professionals. Jamil is cofounder of Nusantara Theatrics.

Tan Guo Lian Sutton

T/Ensemble

Tan Guo Lian Sutton is a graduate of the BA(Hons) Acting, and MA in Arts Pedagogy and Practice program at LASALLE College of the Arts. Selected theatre credits include Kingdoms Apart directed by Chong Tze Chien, Temple directed by Natalie Hennedige, and Those Who Can’t, Teach directed by Alvin Tan.

He was awarded Best Supporting Actor for his role in Electra at the 2017 Life! Theatre Awards. As a trained martial artist, Lian constantly seeks to merge his talents to tell stories in varied and engaging ways.

He is a member of theatre collective, Dark Matter Theatrics and co-founder of Nusantara Theatrics.

CREATIVE TEAM

Tracie Pang Director

Tracie trained at Croydon College, London, and has clocked up more than 25 years working in theatre throughout the UK and Asia. In Singapore, she set up The Little Company, for whom she wrote and directed numerous productions for children aged 3 –14. She was Associate Artistic Director for Singapore Repertory Theatre from 2006-2010.

In 2010 Tracie founded Pangdemonium Theatre Company with her husband Adrian. At the Straits Times Life Theatre Awards, she won the Best Director Award for Pangdemonium’s Falling, and received nominations for Pangdemonium’s The Full Monty; Dealer’s Choice; Rabbit Hole; Next to Normal; Fat Pig; Tribes and Dragonflies, and also for SRT’s The Dresser; The Snow Queen and The Pillowman Other productions she has directed for Pangdemonium include Closer; Spring Awakening; Swimming with Sharks; Gruesome Playground Injuries; The Rise & Fall of Little Voice; Frozen; Circle Mirror Transformation; Chinglish; The Effect; Rent, The Pillowman, Tango, Fun Home, The Father, Peter and the Starcatcher, Late Company, This is What Happens to Pretty Girls, Urinetown: The Musical, The Son, Girls and Boys, The Mother, The Glass Menagerie, and End of the Rainbow.

Tracie was awarded the 2015 AWA International Woman of the Year for The Arts, and the 2017 Women’s Weekly “Great Women of our Time” Award for Media and the Arts.

Timothy Koh Assistant Director

In New York City, Tim has worked as an Assistant Director at Lincoln Center Theater and Manhattan Theatre Club, held a Fellowship at Playwrights Horizons, and directed thesis plays at NYU’s Graduate Department of Dramatic Writing. Other US experience includes work with Scott Rudin Productions, Hudson Valley Shakespeare Festival, and the Lucille Lortel Awards.

In Singapore, he is the Associate Director of Pangdemonium, where he helms the New Works Lab and the Very Youthful Company. With Pangdemonium, he directed Muswell Hill and assistant directed The Mother, The Glass Menagerie, and End of the Rainbow. He will direct Doubt: A Parable later this season.

Training: New York University Tisch School of the Arts (BFA Theatre), College of Arts and Science (BA English and American Literature).

Duncan Macmillan Playwright

Duncan Macmillan is an English playwright and director. Most of his work focuses on modern socio-political issues.

Macmillan won two awards in the inaugural year of the Brentwood Playwriting Competition at Manchester’s Royal Exchange Theatre for his play, Monster Monster also received nominations for the TMA and Manchester Evening News Awards for Best New Play.

Lungs, an exploration of Parenthood, premiered at the Studio Theatre in Washington DC. The British production, starring Kate O’Flynn and directed by Richard Wilson, debuted on the West End and won the 2013 Off West End Award for Best New Play. It has since been produced all over the world.

His next play, People, Places and Things opened at the National Theatre in co-production with Headlong Theatre Company in 2015. The play centers around one woman’s experience with addiction and attempts at recovery. (cont’d)

The show was nominated for the Olivier Award for Best New Play and Denise Gough won the Olivier for Best Actress. It transferred to the Wyndham Theatre in the West End in 2016 and premiered in New York City at St. Ann’s Warehouse in 2017.

Every Brilliant Thing, an interactive monologue, was performed for three years at the Edinburgh Festivals and has toured worldwide. It was filmed by HBO during its run at the Barrow Street Theatre in New York City.

Macmillan co-adapted and co-directed an adaptation of George Orwell’s 1984 with Robert Icke. 1984 opened at the Almeida Theatre before enjoying three West End stagings, multiple UK tours, an international tour, and a Broadway run. Macmillan and Icke were awarded the UK Theatre Best Director Award together.

Andy Benjamin Cai Movement Director

Andy Benjamin Cai is a professional choreographer, educator and dancer who graduated from LaSalle College of the Arts Dance programme in 2002. He has represented Singapore in numerous global competitions, competing in Italy, France and Russia, receiving Overall Champion titles amongst other prestigious awards.

Andy has performed in and/ or choreographed numerous local theatre productions over the years, including La Cage Aux Folles (2012), Victor/Victoria, Lightseeker, Voyage De La Vie, Crazy Christmas, Great World Cabaret, Dim Sum Dollies, The LKY Musical, December Rains, Turandot, RENT, Monkey Goes West to name but a few, and has worked for every major theatre and dance company in Singapore.

In 2019, Andy was handpicked to join Music & Drama Company creative team as choreographer and artist senior manager. This involves multiple angles of work from production, design, choreography and team mangement.

Andy has many accolades but his biggest achievements was being chosen as the Chief Choreographer for The Singapore National Day Parade in 2017 and again in 2022.

Philip Engleheart Production Designer

Philip is delighted to be returning to Singapore for Pangdemonium having designed their inaugural production of The Full Monty in 2010, followed by Rabbit Hole; Gruesome Playground Injuries; Next to Normal; Fun Home and Peter and the Starcatcher

He has also designed The Office Party; Betrayal and Art for SRT and many others for their Little Company.

Philip’s work spans a wide variety of theatrical forms from puppetry to Opera, Musicals to Immersive Theatre, New Writing to Old Classics. These include Les Misérables and West Side Story for Pimlico Opera with inmates of Her majesty’s Prison Service. The world premiere of Jessica Swale’s Blue Stockings (RADA), Cabaret at Wilton’s Music Hall – Europe’s oldest Music Hall in the East End of London; Much Ado About Nothing (Neuss Shakespeare Festival, Germany). The Desire Tree, an Anglo-Georgian production in Tbilisi; and Brecht’s A Respectable Wedding for a sell-out at the Edinburgh Fringe Festival and subsequent National Tour.

He is a Visiting Professional at several London Drama Schools including the Central School of Speech and Drama, Royal College of Music, Mountview - where he recently directed Mother Clap’s Molly House, and LAMDA, where he has designed many shows including Fiddler on the Roof & Spring Awakening

James Tan

Lighting Designer

James Tan (Pangdemonium’s Associate Artist/ Independent Lighting Designer) was conferred The Young Artist Award and awarded Arts Professional Scholarship by The National Arts Council of Singapore. Master of Fine Arts in Lighting Design, University of California San Diego. James leads the Pangdemonium Lighting Apprenticeship Programme – giving a lighting individual an exclusive opportunity to further develop their craft with the company each season. He is also a returning mentor with The International Fred Foster Student Mentorship Program 2023 (Electronic Theatre Consoles Inc.) – assisting lighting design and technology students make the transition into the professional working environment.

Selected Theatre Lighting Design Credits: The Glass Menagerie, Dragonflies & Next to Normal (Pangdemonium), Animal Farm & Merdeka (W!ld Rice), Disgraced & Hello Goodbye (Singapore Repertory Theatre) and Lord of the Flies (Blank Space Theatre with Sightline Productions).

Selected Events Lighting Design: National Day Parade 2022 (Defence Science and Technology Agency), From Singapore to Singaporean: The Bicentennial Experience (Singapore Bicentennial Office), OCBC Garden Rhapsody: Rainforest Orchestra –Asia & Australia Edition (Gardens

By The Bay) & The Art of the Brick® Exhibition by Nathan Sawaya (MBS ArtScience Museum). Selected Public Artwork: Yellow (Public Art Trust - Rewritten: The World Ahead of Us).

Genevieve Peck Multimedia Designer

Genevieve graduated from The Royal Central School of Speech and Drama, London with a BA(Hons) in Theatre Practice, specialising in Lighting and Projection/Video Design.

Design credits include The Glass Menagerie, Tango, The Effect (Pangdemonium), Four Horse Road, I Came At Last To The Seas, Lao Jiu, Liao Zhai Rocks, If There’re Seasons (The Theatre Practice), ubin, Both Sides Now 2019, Missing, With Time (Drama Box), Between You and Me, Lear is Dead, Art Studio (Nine Years Theatre), Lungs, The Sound Inside, The Lifespan of a Fact (Singapore Repertory Theatre), The Commission (Pangdemonium, SRT & Wild Rice)

Jing Ng Sound Artist & Composer

Awarded the National Arts Council Scholarship, Jing graduated with first class honours from Rose Bruford College (UK) specialising in Performance Sound.

Having designed for various productions over 10 years of practice, he aspires to provide a wholesome sonic experience for the audience - what, why and how you listen through a live performance.

Nominated for Best Sound Design in the 2014 Off West End Theatre Awards, and the 2018, 2022 & 2023 Singapore Straits Times Life Theatre Awards.

Daniel Wong Sound Artist & Composer

Daniel Wong is a sound designer, composer and music producer. He graduated from Yong Siew Toh Conservatory of Music with a B.Mus(Hons) in Recording Arts & Science.

Sound design credits include The Almighty Sometimes (SRT), Muswell Hill (Pangdemonium), I And You (Gateway Arts), The Sound Inside (SRT), Tuesdays with Morrie (SRT), Cafe (W!LD RICE), and Chatroom (Pangdemonium).

Outside of theatre, Daniel produces songs for various artists and organisations, including lewloh, JAWN, Vivien Yap, HubbaBubbas, Lorong Boys, and Voices of Singapore.

Recently, he produced the main theme song for Sunny Side Up (Mediacorp) with his band, Oakë.

Leong Lim #HairByLeong Hair Designer

Leong is a top international hair stylist with close to 30 years’ experience, whose work has brought him global acclaim.

Recent Film, TV & Theatre credits include: Blue Mansion (2011), Revenge of the Pontianak (2018), Dim Sum Dollies (2022), 7 Sages (2020).

Editorially, Leong’s hairstyles can be seen in magazines in Singapore and his styling of Hong Kong celebrities has garnered him critical acclaim.

Leong’s attention to detail and his ability to unleash his customers unique authentic selves makes him a much sought after stylist.

Petrina Kow Accent Coach

Petrina is a Voice, Accents and Presentation Coach. She is the first and only Singaporean certified with the Fitzmaurice Voicework® and the Knight Thompson Speechwork® methods.

Petrina has extensive experience working with people from diverse backgrounds and organisations. She runs workshops on presentation skills, voice, and storytelling at corporate companies and has taught voice and accents at many theatre companies and institutions like NAFA and Lasalle. She is a much sought after voice actor and voice-over director for animation and commercials.

Petrina started out her career on radio and was the co-host on various top morning shows.

Theatre work includes ‘Grace’ in Waiting for the Host (Pangdemonium); ‘Da Jie’ in Lao Jiu (Theatre Practice); ‘Amy’ in Company (Dream World Productions).

PRODUCTION TEAM

Cast

SHONA BENSON

Doctor/Therapist/Mum

REBECCA ASHLEY DASS

Laura/Ensemble

REBEKAH SANGEETHA

DORAI

Ensemble/Understudy (Emma)

SHARDA HARRISON

Emma

KRISSY JESUDASON

Jodi/Ensemble

KEAGAN KANG

Foster/Ensemble

SHANE MARDJUKI

Mark/Ensemble

VICTORIA MINTEY

Meredith/Ensemble

ADRIAN PANG

Paul/Dad

JAMIL SCHULZE

Shaun/Ensemble

TAN GUO LIAN SUTTON

T/Ensemble

Creative

TRACIE PANG Director

TIMOTHY KOH

Assistant Director

ANDY BENJAMIN CAI

Movement Director

PHILIP ENGLEHEART

Production Designer

JAMES TAN

Lighting Designer

GENEVIEVE PECK

Multimedia Designer

JING NG

Sound Artist & Composer

DANIEL WONG

Sound Artist & Composer

CTRL FRE@K

Sound System Design

LEONG LIM

#HAIRBYLEONG

Hair Designer

PETRINA KOW

Accent Coach

Production & Stage Management Team

CAT ANDRADE

Stage Manager

NURLIANA HARON

Assistant Stage Manager

MARILYN CHEW

Assistant Stage Manager

UNDO Technical Manager

ZAMIER A BAKAR

Assistant Technical Manager

GRACE LIN

Set Design Assistant

DANIEL SIM

Props Master

NOORASMIDAH RASHID

Costume Coordinator

NURUL HIKMAH

Assistant Costume Coordinator

TABBY KOH

Lead Dresser

NURHIDAYAH MAHADI

Dresser

SHAFIQ MOHMAD Dresser

CHERYLYNN POH

Make up Special Effects Artist

LOW WEE CHENG

Lighting Board Programmer

IAN LEE

Multimedia Operator

RAYMOND GOEI

Sound Operator

PAUL LIM

Lighting Apprentice

LEE JIA MIN

Stage Management Apprentice

Pangdemonium Board

RAEZA IBRAHIM

JOHN CURRIE

DEBBIE ANDRADE

LEONARDO DRAGO

DR. JADE KUA

BEATRICE CHIA-RICHMOND

TRACIE PANG

ADRIAN PANG

Pangdemonium Team

TRACIE PANG

Artistic Director/Managing Director

ADRIAN PANG

Artistic Director/Producer

RENEE TAN

General Manager

TIMOTHY KOH

Associate Director

LEAH SIM

Production Manager

SUNITHA NAYAR

Production Manager

CAT ANDRADE

Company Stage Manager

KUSUM SANDHU

Fundraising & Engagement Manager

CLARE YURU

Business Development Manager

KRISTAL ZHOU

Marketing Manager

CRYSTAL QUAH

Digital Marketing Executive

VANESSA MOSTAFA

Ticketing Manager

GUILLAUME VAUTRIN

Accounting Manager

GUINEVIERE LOW

Company Administrator

SOPHIA ZHU

Production Apprentice

LEE JIA MIN

Stage Management Apprentice

MAN LIN

Ticketing & Marketing Assistant

JAMES TAN

Associate Artist

PAGE 25

EDUCATION AND OUTREACH

A major component of Pangdemonium’s mission is to nurture aspiring artists and theatre practitioners. We want to provide opportunities for emerging talents to work with and learn from industry professionals in a challenging and inspiring environment.

With these practical and instructive programmes, we aim to reach out to the community, fuel the creative instincts of young minds, cultivate the passion for the art of story-telling on stage, and share hands-on experience in the craft of theatre making. Through this, we hope to foster future theatre-makers.

Triple Threats Musical Theatre Workshop

Our long-running Triple Threats Musical Theatre Workshop is designed for youths aged 13 to 19 who are interested in the art of musical theatre.

The programme aims to impart the fundamentals of storytelling through music, expression through song, vocal instruction, and movement. It culminates in a special showcase.

Our alumni have gone on to perform in professional productions such as Six The Musical, Fun Home, The Great Wall Musical and Miss Saigon Vienna. Many have furthered their training in musical theatre in degree programmes both locally and abroad.

Auditions will be held in April. The two-week intensive programme will occur in the final weeks of June 2023.

Very Youthful Company

The Very Youthful Company (VYC) represents our youth wing, where theatre-makers aged 14-19 form a company and perform in a fully-staged play.

Through weekly Saturday sessions, they act, stage manage, and design aspects of the show under the guidance of our Pangdemonium team.

Last December, we staged Failure: A Love Story by Philip Dawkins at the SOTA Studio Theatre.

Auditions will be held in July 2023. The programme this year will run September through the first weekend of December.

New Works Lab

We launched our New Works Lab in 2022. The Lab provides playwrights with intense dramaturgical support on a new original play.

This year, Ong Chong An was selected to further develop his play, Singapore, Michigan, through stages of redrafting, feedback, and inquiry.

The process-focused programme will culminate in a staged reading in August 2023.

TECHNICAL APPRENTICESHIPS

Our Technical Apprenticeship programme offers a production-long, professional experience for highly motivated and committed individuals who are looking to bridge the gap between their academic experience and a professional career in theatre. We offer apprenticeships in Stage Management, Production Management, Technical Management, as well as an exclusive programme in Lighting Design.

Stage Management

Apprentices will work with our professional Stage Management team from pre-production through the final performance.

In the process, they will have the opportunity to maintain paperwork, take line notes, be on book, preset and run shows, among other duties.

Stage Management apprentices are required to attend rehearsals and become an active running crew member during performances.

Technical Management

Apprentices will have the opportunity to work with our professional Technical Management team and Creative team. The apprentice will gain hands-on experience working with professionals in the industry from pre to postproduction.

This is a 24-month apprenticeship programme for all young professionals interested in Technical Management. Dates and hours will be determined by the needs of each production.

Production Management

Apprentices will work with our full-time Production Management staff.

Production Management has the critical role of keeping a production running smoothly from conceptualization through rehearsals, set-up, performances, and eventually strike and archival.

Apprentices will assist the Production Management team in coordinating the various production disciplines – scenic, lighting, wardrobe, sound, multimedia projection, and stage management.

Production Management apprentices are required to fulfil office hours in the department as well as attend to the needs of the production during performances.

Lighting Design

This is a 12-month apprenticeship that will give an intermediate-level lighting-specialized individual an exclusive opportunity to further develop their craft under the mentorship of Pangdemonium’s Associate Artist, James Tan. Dates and hours will be determined by the needs of each production.

We’re looking for earlycareer professionals who meet the following qualifications:

• Have some previous theatre training and skills.

• Exhibit a strong drive to work in this field (relevant academic qualifications are a plus, but not a requirement).

• Are over 18 years old.

• Are willing to clock irregular working hours.

• Can commit for the length of the production (depending on individual apprenticeships, may be anything from 3 to 6 months)

• Word processing and spreadsheet experience is also required.

Admission by interview only. For enquiries, please email us at education@pangdemonium.com

James Tan is an established Singaporean Lighting Designer. He holds a Master of Fine Arts in Lighting Design from UC San Diego. James recognises the significance of mentorship for young aspiring lighting professionals. James was conferred The Young Artist Award and awarded Arts Professional Scholarship by The National Arts Council of Singapore.

THANK YOU FOR BEING OUR FRIENDS!

Winged Crusaders

Holywell Foundation

Jacqueline Ho, Esq

The Diana Koh Foundation

The Grace, Shua Jacob Ballas II

Charitable Trust

Crusaders

Mrs Lee Li-Ming

Superheroes

Conrad & Andrea Lim

Desmond & May Lim

Harris Zaidi & Terry Tan

Jim Rogers & Paige Parker

Oh Jen Jen

Russell Heng

Heroes

Dr Irene Lim & Prof David Stringer

Ferdinand de Bakker & Yoon Lai Cheng

Hans Joachim Joerger-Ramos

Heng Gek Hwah

Jaime, Erin, Emily, Erica & Evelyn

James & Rebecca Orme

John Currie & Hong Sun Chee

Katherine Krummert & Shawn Galey

Michelle Shek & Harry Brilliant

Ronald & Janet Stride

Ronald Gwee

SL Chan

Sze Wei Goh

Champions

Aileen Tang

Ajit R Nayak

Anonymous

Anton Lee Wei Min

Audrey Chng

Barry & YT Clarke

Brian Selby & Angelina Chang

Carolyn Lim

Catherine Cheung & Elvin Too

Chan Weng Onn

Christina & Alvin Liew

Christopher Pang

David Neo

Dr Tan Eng Thye Jason

Duncan Kauffman

Grace Chiam

Gretchen Liu

Kelvin & Sandy Tan

Kevin & Dina Coppel

Kwok Junfeng

Lee Eng Hin & Saralee Turner

Lim Wen Juin & Rachel Low

Melanie Tan

Musa Bin Fazalur Karim

Novus Ferro Pte Ltd

Pang Siu Mei

Ravi Sivalingam

Rita Elaine Silver

Robin Arnold

Sehr & Ashnil Dixit

Selina Chong

Serene Ng

Steve Miller & Pat Meyer

Susan Sim

Suzanne Lim

Tee Bee Tin

Toh Wei Seng

William & Teresa Neo

Yap Su-Yin

Pangdemaniacs

Ang Siew Hui & Hock Tan

Anonymous

Anonymous

Audrey Phua

Chan Wai Kin

Chia Yu Hsien & Linda Lim

Chloe Goh

Cynthia Wong

Dominik von Wantoch-Rekowski

Dr Christopher Chen

Esther Khoo

Eugene Ang

Faye Kwan

Frites Digital Pte Ltd

Geoffrey Baker

Geraldine Ang

Heng Wen Xiu

Huang Xiangbin

Hwee Suan Ong

Janice Goh

Jasmine Wong

Joee Ng

Joni Koh

Jorin Ng

Kevin Chang

Khoo Swee Koon

Koo Kai Siong

Leslie Lee

Lim Jia Yan

Lim Lay Keow

Lim Mingcheng

Loh Soon Hui

Lone Lee

Lydia Ong

Mark Lee

We would like to express our sincere thanks to our new Friends who made their kind donations after this list went to print.

Matthew Flaherty

Nathalie Ribette

Ng Hua Feng

Nikko Aw

Ong Pei San

Ong Sok Chzeng @ Su Chzeng Booth Ong

Pek Li Jin Joanne

Pierre Colignon

PS & KF

Rajesh Achanta

Richard & Karen Hounsell

Ronald JJ Wong

Rosalind Khor

Ross James

Sabrina Amir Soh

Sandra Gwee

Sarah Mei Ismail

Sharon Solomon

Siva Govindasamy & Malini Sitaram

Teo Kien Boon

Therese Nai

TwoGoods Haus Pte Ltd

TwoSpuds Pte Ltd

Vidula Verma

Wee Cathleen

Wynnii Lu

Yichun Ng

BECOME A FRIEND OF PANGDEMONIUM!

Join our philanthropic friends and help us tell the stories that are inspiring, relevant and accessible for the young and young-at-heart.

At Pangdemonium, we believe in staging productions that have a global resonance and universal significance in hopes of fostering a resilient and compassionate society.

Your support will not only go towards bringing stories to the stage, but also giving opportunities to our theatre practitioners as well as nurturing the next generation of artists and audiences.

You will be the first to hear about our latest projects, meet other like-minded patrons at receptions, receive complimentary premium seats, enjoy backstage tours, and much more!

It is only with the support of everyone where words can be brought to life, to build a theatre company that empowers, stimulates and inspires.

Pangdemonium Theatre Company Ltd is a registered charity with IPC status (UEN No.: 201229915M) and cash donations above $50 are eligible for a 250% tax deduction.

Donate today at donate. pangdemonium.com. For more information on joining our Friends of Pangdemonium programme, please contact us at fundraiser@ pangdemonium.com

PANGDEMANIAC CHAMPION

HERO

SUPERHERO CRUSADER WINGED CRUSADER

$500 $1,000 $2,500 $5,000 $10,000 $25,000 $50,000

CORPORATE GIVING — SPONSORSHIP AND DONATIONS

At Pangdemonium, we are able to continue doing the work we do because our corporate partners believe in us. For the past decade, Pangdemonium has shared the power of live storytelling with audiences from all walks of life. Even during unusual and challenging times, we continue to tell these stories.

We are extremely grateful to companies like DBS Bank Ltd, Alfa Tech and HCS Engineering for standing with us in solidarity and coming on this journey with us as a season sponsor and corporate donors respectively.

Corporate support is crucial in helping Pangdemonium fulfill our mission, by assisting in our day-to-day operations, keeping our high production values, and funding our education and outreach programmes.

In appreciation of your generosity, our Corporate Donors, Corporate Sponsors and In-Kind Partners get to enjoy exclusive opportunities and entitlements – from being able to demonstrate your commitment to the arts and the theatre community to connecting with clients over meaningful experiences, increasing your brand engagement, and achieving your organisation’s philanthropic and community outreach goals. We have an exciting year ahead with productions that continue to address challenging topics and at the same time make arts accessible to more people. Arts communities all around the world are still facing many challenges in a post-pandemic world, and we welcome your solidarity and support so that we can continue to inspire and empower lives through the magic of theatre.

–

Pangdemonium Theatre Company Ltd is a registered charity with IPC status (UEN No.: 201229915M) and cash donations above $50 are eligible for a 250% tax deduction.

Consider making an online gift today at donate. pangdemonium.com or contact our Philanthropy team at clare@pangdemonium.com for corporate giving, sponsorship opportunities, and in-kind donations.

HCS ENGINEERING PTE LTD

Much gratitude to these incredible folks who have shared with us their real-life experiences, and helped us tell this story as truthfully as possible - you are all heroes:

• Yellow Ribbon Project & Upu Badarrudin

• Simonboy

• The Cabin Group (Lee Hawker, Jordan Paterson, Vedanta Attri Deshpande)

Tracie and Adrian would like to say a big thank you to the following for creating further pangdemonium with us on our production of People, Places & Things.

Pangdemonium Theatre Company Ltd is a recipient of support from the National Arts Council’s Major Company Scheme for the period 1 April 2020 to 31 March 2023.

Pangdemonium Theatre Company Ltd is a recipient of support from the National Arts Council’s Major Company Scheme for the period 1 April 2020 to 31 March 2023.