End of the Rainbow (2022) - Programme

Pangdemonium’s 2022 Season treads the blurred lines between illusion and reality, delusion and dreams, fact and fiction – quite apt, considering the surreal sci-fi snafu of past two and a half years. Each production also explores our quest for purpose in this transient life, and our need to leave behind some meaningful legacy.

The Glass Menagerie examined a family viewing the world through a fractured, blue-rose-tinted lens, while coveting a fantasy life out of their reach. Muswell Hill explored lost souls in a bubble of blind selfvalidation, voyeurs to the “real” world via the filtered screens of their digital devices.

And now, Peter Quilter’s End of the Rainbow exposes a woman’s very public life of fleeting fiction on the silver screen, and private yearning for something lasting, something real, something to call her own.

Garland was an “ugly duckling” that was manufactured into a swan, adored, and admired as the biggest star on the planet; she was also a show business cash cow who was exploited, abused and then abandoned. And End of the Rainbow is a sentimental and yet sobering account of the final days of this girl next door-turned-starturned-victim-turned-survivorturned-warrior-turned-tragic legend.

In the twilight of this supernova, we see a fading star fiercely grasping on to some semblance of her past fiery glory; a woman holding on to an illusion of love; a human rediscovering the meaning of life and her place in the world.

In Judy Garland’s own words: “I believe in the idea of the rainbow. And I’ve spent my entire life trying to get over it. How strange when an illusion dies. It’s as though you’ve lost a child…In the silence of night I have often wished for just a few words of love from one man, rather than the applause of thousands of people…I can live without money, but I cannot live without love.”

There is something we can all learn from End of the Rainbow: whatever story we are each telling, it may be unrealistic to expect a happily-everafter, but we can always work day by day towards a realistic hopefullyever-after.

Speaking of which, we are pleased to announced that, after a hiatus of three years due to you-knowwhat, we are clinging on to hope and optimistically re-launching our Season Ticket for 2023! We have lined up three ass-kicking adventures in theatre for next year: the thrillingly hallucinogenic psychodrama People, Places & Things, the Pulitzer Prizewinning classic Doubt: A Parable, and the glorious Sondheim musical Into the Woods. Our 2023 Season Tickets are on sale now for a limited period only, so don’t miss out!

Meantime, thanks to Peter Quilter for this brilliant ode to Garland. Much love to our wonderful cast: Shane Mardjuki, TJ Taylor, Andrew Marko, and the one and only Mina Ellen Kaye. Thanks also to our brilliant Musical Director Joel Nah and the awesome Rainbow band.

Lots of love and thanks to our amazing crew, Creative/Production/ Technical/Stage Management teams, and the awesome Pangdemonium family, for seeing us through another challenging year.

Much gratitude to our fabulous Season Sponsor DBS for your continued support, and to our production supporters. And many thanks to our wonderful Friends of Pangdemonium.

And, dear audience, THANK YOU for your faith in our work in good times and bad, and for pushing us to keep striving to be better storytellers, to keep taking you on yet more asskicking adventures in theatre.

We leave the final words to Garland: “The real expression of your beliefs is in the daily pattern of your life, in what you contribute to your surroundings, and what you take away without infringing on the rights of other people around you. Always be a first-rate version of yourself, instead of a second-rate version of somebody else.”

Lots of love,

Artistic Directors

“We cast away priceless time in dreams, born of imagination, fed upon illusion, put to death by reality…”

– Judy Garland

A star was born, sparkled and fell… a human tragedy on a world stage.

Judy Garland was born Frances Ethel Gumm on June 10, 1922, in Grand Rapids, Minnesota. She was the youngest child of Ethel Marion and Francis Avent Gumm, vaudevillians who ran a movie theatre for vaudeville acts.

“Baby” (as she was called by her family) shared her family’s flair for song and dance, her first appearance being at age two, singing “Jingle Bells” with sisters Mary Jane and Dorothy, at a Christmas vaudeville show.

However, the studio did not know what to do with her: aged thirteen, she was older than the traditional child star, but too young for adult roles. At 4 ft 11 1⁄2 in, her “cute girlnext-door” looks did not exemplify the glamorous persona then required of leading ladies. She was self-conscious and anxious about her appearance. “Judy went to school at Metro with Ava Gardner, Lana Turner, Elizabeth Taylor, real beauties” said director Charles Walters. “Judy was the big money-maker at the time, a big success, but she was the ugly duckling ...it had a very damaging effect on her emotionally for a long time. I think it lasted forever, really.” Garland’s weight was within a healthy range, but the studio demanded she constantly diet. They would serve her only a bowl of soup and a plate of lettuce instead of a regular meal. Her insecurity was exacerbated by Louis B. Mayer, who referred to her as his “little hunchback”.

hectic schedule and believed MGM stole her youth. Rooney, however, denied this: “Judy was never given any drugs by MGM. Mr. Mayer didn’t sanction anything for Judy. Judy chose that path.”

In 1938, at age sixteen, Garland was cast as Dorothy Gale in The Wizard of Oz (1939). In the film, she sang the song with which she would be constantly identified afterward, “Over the Rainbow”. In an attempt to minimize her curves, her diet was accompanied by swimming and hiking outings, plus games of tennis and badminton.

A star was born, sparkled and fell…

The trio toured the vaudeville circuit as “The Gumm Sisters”. They were encouraged to choose a more appealing name after “Gumm” was met with audience laughter. According to legend, their act was once erroneously billed once as “The Glum Sisters”. By 1934, they had changed their name to the Garland Sisters.

In 1935, movie mogul Louis B. Mayer saw the Garland Sisters’ vaudeville act, and “Baby” was soon signed to MGM. Inspired by a popular Hoagy Carmichael song, she changed her first name, and “Judy Garland” was born.

MGM hit on a winning formula when it paired Garland with Mickey Rooney in a string of “backyard musicals”. Garland stated that she, Rooney, and other young performers were constantly prescribed amphetamines to help them keep up with the frantic pace of making one film after another. They were also given barbiturates so they could sleep. This regular use of drugs, she said, led to addiction and a life-long struggle. She later resented the

The Wizard of Oz was a tremendous critical success, though its high budget and promotions costs meant it did not return a profit until it was rereleased after the 1940s. At the 1939 Academy Awards, Garland received her only Oscar, an Academy Juvenile Award for her performances in The Wizard of Oz and Babes in Arms.

Garland was still in her teens when she had her first adult romance, with bandleader Artie Shaw. She was deeply devoted to him and was devastated when he eloped with Lana Turner. Garland began a relationship with musician David Rose, and on her 18th birthday, he gave her an engagement ring.

The Gumm Sisters

Judy Garland and Mickey Rooney

The Wizard of Oz (1939)

The studio intervened as he was still married to actress Martha Raye. They agreed to wait a year to allow for his divorce to become final.

During that time, Garland had an affair with songwriter Johnny Mercer. After her break-up with Mercer, Garland and Rose were wed in 1941.

“

A true rarity” is what media called it. The couple divorced in 1944. In 1941, Garland had an abortion while pregnant with Rose’s child at the insistence of her mother and the studio. She had a second aborted pregnancy in 1943 from her affair with Tyrone Power.

One of Garland’s most successful films for MGM was Meet Me in St. Louis (1944), in which she introduced three standards: “The Trolley Song”, “The Boy Next Door”, and “Have Yourself a Merry Little Christmas”. This was the first time she was allowed to be the attractive leading lady. Director Vincente Minnelli assigned Garland makeup artist Dorothy Ponedel, who modified appearance by extending and reshaping her eyebrows, changing her hairline, modifying her lip line and removing her nose discs and dental caps. The results were so positive that Ponedel was written into her contract for her remaining MGM pictures.

At this time, Garland had a brief affair with Orson Welles, who at that time was married to Rita Hayworth. The affair ended in early 1945, and they remained on good terms afterwards.

During the filming of Meet Me in St. Louis, Garland and Minnelli had some initial conflict between them, but they entered into a relationship and married in 1945. The next year, their daughter Liza was born. The couple divorced by 1951.

The Clock (1945) was Garland’s first dramatic film. Though the film was critically praised, movie fans expected her to sing. She did not act again in a non-singing dramatic role for many years.

During filming for The Pirate in 1948, Garland suffered a nervous breakdown. She completed filming, but then made her first suicide attempt, and spent two weeks at a psychiatric hospital. The Pirate was the first film in which Garland had starred since The Wizard of Oz not to make a profit, the main reason being the increasing expense of the shooting delays while Garland was ill, and the public not willing to accept her in a sophisticated film. She then co-starred with Fred Astaire in Easter Parade (1948), her top-grossing film at MGM.

Thrilled by the box-office of Easter Parade, MGM immediately teamed Garland and Astaire in The Barkleys of Broadway. During the initial filming, Garland was taking prescription barbiturate sleeping pills along with illicitly obtained pills containing morphine. She also developed a serious problem with alcohol. These, in combination with migraine headaches, led her to miss several shooting days in a row. After being advised by her doctor that she would only be able to work in four- to five-day increments with extended rest periods, MGM replaced her with Ginger Rogers.

As Garland was filming Annie Get Your Gun, she was undergoing electroshock therapy for depression, and was soon fired. She underwent an extensive hospital stay, where she was weaned off her medication, and was soon able to eat and sleep normally. During her stay, she found solace in meeting with disabled children.

She said: “It helped me by getting my mind off myself. They were so delightful, so loving and good and I forgot about myself for a change”.

She was then cast opposite Gene Kelly in Summer Stock (1950). The film took six months to complete, because she had begun showing up late or not at all. To lose weight, Garland went back on the pills, and the familiar pattern resurfaced.

Garland was cast in Royal Wedding with Fred Astaire. She repeatedly failed to report to the set, and was suspended from her contract.

Biographies state that after this latest dismissal, she grazed her neck with a broken glass, requiring only a BandAid; but at the time, the public was informed that Garland had slashed her throat. “All I could see ahead”, Garland later said of this suicide attempt. “I wanted to black out the future as well as the past. I wanted to hurt myself and everyone who had hurt me.” After 15 years Garland and MGM parted company.

Garland was a frequent guest on Kraft Music Hall, hosted by her friend Bing Crosby. Following her second suicide attempt, Crosby, knowing that she was depressed and running out of money, invited her on to his radio show.

Writer Hal Kantor recalls: “She was standing in the wings of it trembling with fear, almost hysterical. She said, ‘I cannot go out there because they’re all gonna be looking to see if there are scars, and it’s gonna be terrible.’ Bing walked out on stage and said: ‘We got a friend here, she’s had a little trouble recently. You probably heard about it – everything is fine now, she needs our love. She needs our support. She’s here – let’s give it to her, OK? Here’s Judy.’ And she came out, and that place went crazy. And she just blossomed.”

A star was born, sparkled and fell…

A star was born, sparkled and fell…

In 1951, Garland began a four-month concert tour of the UK, playing to sold-out audiences. The successful concert tour was the first of her many comebacks.

Garland said: “This was the beginning of a new life. Hollywood thought I was through; then came the wonderful opportunity to appear at the London Palladium, where I can truthfully say Judy Garland was reborn.”

Her engagement at the Palace Theatre in Manhattan in October exceeded all previous records for the theatre, and was called “one of the greatest personal triumphs in show business history”. Garland was honoured with a Special Tony Award.

She divorced Minnelli, and soon married Sidney Luft, her tour manager and producer. She gave birth to Lorna Luft, who became an actress and singer, and to son Joey Luft.

She appeared with James Mason in A Star Is Born (1954), the first remake of the 1937 film. She and Sidney Luft, her then-husband, produced the film through their production company, Transcona Enterprises, while Warner Bros. supplied finance.

It was a large undertaking to which she initially fully dedicated herself. As shooting progressed, however, she began making the same pleas of illness. Production delays led to cost overruns and angry confrontations with Warner Bros. head Jack L. Warner.

Garland was nominated for the Oscar for Best Actress, and was expected to win, for A Star Is Born She could not attend the ceremony as she had just given birth to her son, Joey, so a television crew was in her hospital room to broadcast her anticipated acceptance speech. The Oscar was won, however, by Grace Kelly for The Country Girl. The camera crew was packing up before Kelly could even reach the stage. Time labelled her performance as “just about the greatest one-woman show in modern movie history”. Garland won the Golden Globe Award for Best Actress in a Musical for the role.

Garland had an affair with actor Glenn Ford, one of her more stable relationships. Ford (a notorious womanizer) ended the affair when he realized Garland wanted to marry him.

In 1963, Garland sued Sidney Luft for divorce on the grounds of mental cruelty. She claimed that he had repeatedly struck her and that he had even attempted to take their children from her.

Garland married her tour promoter Mark Herron in 1965; they separated five months later, Garland testifying that he had beaten her. Herron claimed that he “only hit her in selfdefence.”

By 1966, Garland’s agents’ embezzlement of her earnings, resulted in her owing around $500,000 to the IRS, who placed tax liens on her home, her recording contract, and any other business dealings in which she could derive an income. Garland was forced to sell her home at a price far below its value.

She was then cast in Valley of the Dolls, but was soon fired. After Garland’s dismissal, author Jacqueline Susann said: “Judy has to get to the bottom of the rope and things have to get very, very rough for her, and then with an amazing inner strength that only comes of a certain genius, she comes back bigger than ever”.

In 1961, with the help of her new agent, Freddie Fields, Garland negotiated a round of TV specials. The first, titled The Judy Garland Show, aired in 1962 and featured guests Frank Sinatra and Dean Martin. Following this success, CBS made a $24 million offer to her for a weekly television series of her own, publicised as “the biggest talent deal in TV history”. Although she had said that she would never do a weekly television series, she relented, as she was in a financially precarious situation, being deeply in debt to the IRS.

Garland made one of her last U.S. appearances at New York’s Palace Theatre in 1967, performing with her children Lorna and Joey Luft, and earned more than $200,000 from this 27-show run. On closing night at the Palace, federal tax agents seized the majority of her earnings.

Garland’s “comeback” in 1951

In December 1968, in part to pay for the upkeep of her children, she performed a series of infamous concerts in London at the Talk of the Town nightclub.

By early 1969, Garland’s health had deteriorated greatly. After her divorce from Herron, she married her fifth and final husband, nightclub manager Mickey Deans.

On 22 June 1969, 12 days after her 47th birthday, Deans found Garland dead in the bathroom of their rented house in London. The coroner stated that the cause of death was “an incautious self-overdosage of barbiturates”, with no evidence of suicide. Garland’s autopsy showed no inflammation of her stomach lining and no drug residue in her stomach, which indicated that the drug had been ingested over a long period of time, rather than in a single dose. Her death certificate stated that her death was “accidental”.

“Judy’s great gift”, James Mason said in his eulogy, “was that she could wring tears out of hearts of rock. She gave so richly and so generously, that there was no currency in which to repay her.”

Upon Garland’s death, despite having earned millions during her career, her estate came to US$40,000 (equivalent to $280,000 today). Years of mismanagement of her financial affairs by her representatives and staff along with her generosity toward her family and various causes resulted in her poor financial situation at the end of her life.

In her last will, Garland made many generous bequests which could not be fulfilled because her estate had been in debt. Her daughter, Liza Minnelli, paid off her mother’s debts with the help of family friend Frank Sinatra. In 1978, a selection of Garland’s personal items were auctioned off by her ex-husband Sidney Luft. The auction raised US$250,000 (equivalent to $979,974 today) for her heirs.

In 1997, Garland was posthumously awarded the Grammy Lifetime Achievement Award. Several of her recordings have been inducted into the Grammy Hall of Fame, and in 1999, the American Film Institute ranked her as the eighth-greatest female screen legend of Hollywood cinema.

Garland had, and still has, a large fan base in the gay community, as a performer and how her personal struggles mirrored those of many gay men. A reporter once asked how she felt about being a gay icon and she replied, “I couldn’t care less. I sing to people!”

Despite her struggles, Garland disagreed with public perception that she was a tragic figure. Her daughter Lorna explained: “We all have tragedies in our lives, but that does not make us tragic.

My mother was funny and warm and she was wonderfully gifted. She had great highs and great moments in her career. She also had great moments in her personal life. Yes, we lost her at 47 years old. That was tragic. But she was not a tragic figure.”

All image credit: Getty Images

star was born, sparkled and fell…

The Judy Garland Show, 1963

Just a few shades of Judy’s rainbow…

SONGS YOU WILL HEAR IN END OF THE RAINBOW

I CAN’T GIVE YOU ANYTHING BUT LOVE, BABY

An American jazz standard by Jimmy McHugh (music) and Dorothy Fields (lyrics), introduced the world in 1928. Judy Garland included the song in her album Judy In Love (1958). Garland also recorded a different version of the song on her live album, Judy at Carnegie Hall (1961). Numerous artists have covered the song over the decades, including Tony Bennett and Lady Gaga on their collaborative jazz album, titled Cheek to Cheek, in 2014.

I BELONG TO LONDON

One of Garland’s more obscure songs, it was composed by John Meyer, who had embarked on a crusade to revive Garland’s waning career, and to whom she was engaged for a short time. It was while Meyer was bedridden with the flu that Garland met Micky Deans and fell for him.

JUST IN TIME

With a melody written by Jule Styne and lyrics by Betty Comden and Adolph Green, this was first a hit by Judy Holliday and Sydney Chaplin in the musical Bells Are Ringing in 1956.

The lyrics seemed to resonate with Garland’s life when she covered it in 1964: Just in time / I found you just in time / Before you came my time was running low / I was lost / The losing dice were tossed / My bridges all were crossed / No where to go / Now you’re here / And now I know just where I’m going / No more doubt or fear / I’ve found my way / For love came just in time…

YOU MADE ME LOVE YOU

A song from 1913 composed by James V. Monaco with lyrics by Joseph McCarthy. This was introduced by Al Jolson in the Broadway revue The Honeymoon Express (1913), and used in the 1973 revival of the musical Irene. In 1937, Roger Edens wrote additional lyrics to the song for Judy Garland. The new lyrics cast Garland in the role of a teenage fan of Clark Gable. Garland sang the song to Gable at a birthday party thrown for him by Metro-Goldwyn-Mayer (MGM). MGM executives were so charmed by her rendition that she and the song were added to the film Broadway Melody of 1938. Garland recorded the “Gable” version on September 24, 1937. It was released as Decca 1463. MGM released the song as a b-side in 1939, opposite Garland’s recording of “Over the Rainbow” from The Wizard of Oz. Other notable covers have been by Aretha Franklin, Bing Crosby and the character Lois Griffin in Family Guy.

ME AND MY GAL

A 1917 popular standard song by George W. Meyer with lyrics by Edgar Leslie and E. Ray Goetz, Me and My Gal was used in the 1942 film of the same name, where it is the first song that Judy Garland and Gene Kelly perform together.

THE TROLLEY SONG

Written by Hugh Martin and Ralph Blane, it was made famous by Judy Garland in the 1944 film Meet Me in St. Louis. Blane and Martin were nominated for the Academy Award for Best Original Song at the 1945 Academy Awards, for “The Trolley Song” but lost to “Swinging on a Star” from Going My Way

THE MAN THAT GOT AWAY

With music by Harold Arlen, and lyrics by Ira Gershwin, this “torch song” was written for the 1954 version of the film A Star Is Born. Garland did 27 takes of the number over three days, with director George Cukor making her doing all sorts of actions – which were later deemed too distracting. On top of that, her costume was wrinkled, ill-fitting, and “too brown for her complexion”. Four months later it was re-shot, with a new hairstyle and costume and a totally new set. Cukor felt this time they had finally got it right. In 1955, the song was nominated for the Academy Award for Best Original Song. In 2004, Judy Garland’s performance of the song was selected by the American Film Institute as the eleventh greatest song in American cinema history.

WHEN YOU’RE SMILING

Written by Larry Shay, Mark Fisher and Joe Goodwin in 1928, Garland first performed the song at the Judy at Carnegie Hall concert in 1961. At the end of the Everybody Loves Raymond episode “Sweet Charity” Debra Barone (Patricia Heaton) sings the song in front of a group of unhappy hospital patients. And in the TV drama The Crown, Helena Bonham Carter (as Princess Margaret) sings it in the second episode of Season 3.

COME RAIN OR COME SHINE

A Harold Arlen and Johnny Mercer, composition, this was written for the musical St. Louis Woman, which opened in 1946. In 1956, Judy Garland included it on her Judy LP, as well her 1961 live album, Judy at Carnegie Hall.

SOMEWHERE OVER THE RAINBOW

Perhaps Garland’s most famous ballad, it was composed by Harold Arlen with lyrics by Yip Harburg, for the 1939 film The Wizard of Oz. About five minutes into the film, Dorothy sings the song after failing to get Aunt Em and Uncle Henry to listen to her story of an unpleasant incident involving her dog, Toto, and the town spinster, Miss Gulch. Aunt Em tells her to “find yourself a place where you won’t get into any trouble”. This prompts her to walk off by herself, musing “Some place where there isn’t any trouble. Do you suppose there is such a place, Toto? There must be. It’s not a place you can get to by a boat, or a train. It’s far, far away. Behind the moon, beyond the rain...” She performed this song for the next thirty years and sang it as she had for the film, wanting to remain true to the character of Dorothy and to the message of being somewhere over the rainbow. American singer Ariana Grande released a version of the song on June 6, 2017, to raise money at her benefit concert One Love Manchester after 22 people were killed in the Manchester Arena bombing at Grande’s concert on May 22, 2017.

GET HAPPY

Composed by Harold Arlen and Ted Koehler in 1930, this song is most associated with Judy Garland, who performed it in her last MGM film Summer Stock (1950) and in live concert performances throughout the rest of her life.

End of the Rainbow Cast

Mina Kaye as Judy Garland

Mina is thrilled, honored, and absolutely terrified to be playing Judy Garland in End of the Rainbow! She would like to extend her gratitude to Tracie, Adrian and the Pangdemonium family for trusting her with this role of a lifetime. End of the Rainbow marks Mina’s 4th production with Pangdemonium.

Her most notable credit was playing the titular character of ‘Little Voice’ in The Rise and Fall of Little Voice (Pangdemonium) where she won the Best Actress award at the 2015 Life! Theatre Awards. Other notable credits include ‘Hope Cladwell’ in Urinetown (Pangdemonium), ‘Maureen’ in RENT (Pangdemonium), ‘Marta’ in Company (Dream Academy), ‘Rapunzel’ in Into the Woods (Dream Academy)

Mina is a proud graduate of the MFA in Musical Theatre program from The Boston Conservatory. She also holds a BA (Hons) in Musical Theatre with First Class Honors from LASALLE College of the Arts. You can look forward to seeing her next in Mina Kaye: LIVE in Concert! for an exclusive one night only performance on November 18th at the DC Theatre.

Follow Mina on Instagram @minaellenkaye for more updates on her upcoming performances!

Shane Mardjuki

as Mickey Deans

Shane is delighted to once again be working with Pangdemonium.

Some previous works with the company include, 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 What on Earth (Stardust), Gunting (Papahan), Dualiti (Adara pictures), Scoop (Hoods Inc), Sleep With Me (Akanga), Pen7uru (Ochre Pictures)

On the “big screen” he has recently appeared in Geylang (MM2), and the Ken Kwek films #LookAtMe and Unlucky Plaza

Shane’s acting style can best be described as “trying to conceal his giggling from the audience”

Shane is managed by FLY Entertainment.

TJ Taylor as Anthony

Originally from the UK, TJ graduated with a First-Class Honours in Musical Theatre before moving to Singapore in 2013. TJ is a passionate Musical Theatre practitioner, developing courses, events and performances dedicated to developing MT in Singapore. TJ is the proud Associate Artistic Director of Sing’theatre as well as the Artistic Director for the Singapore Musical Theatre Fringe Festival

TJ specialises in Musical Theatre singing training and teaches at Sing’theatre Academy and LASALLE College of the Arts. His vocal coach highlights include: SRT (LKY The Musical), Base Entertainment (The Sound Of Music), Pangdemonium (Urinetown, Sparks) and Sing’theatre (Souvenir, A Spoonful Of Sherman).

As a director TJ has staged many student productions including; Into the Woods, Working, 25th Putnam County Spelling Bee. In 2019 TJ made his professional directing debut with the Asian premier of A Spoonful of Sherman with Sing’theatre. This production was nominated for Best Ensemble at the LIFE Theatre Awards 2019.

TJ’s performance highlights include; Quasimodo (Sing’theatre), [Title Of Show] (Sing’theatre), Show Host (Universal Studios Singapore), The Pajama Game (Contact Theatre Manchester), Jack in Into The Woods (B&FC).

Instagram - @musicaltj

Andrew Marko

as Radio Interviewer/ Porter/ ASM

Andrew is a stage and screen actor, voice-over artist and a musician.

Andrew is most known for his role as ‘Joshua’, a teenager with severe autism, in Pangdemonium’s production of Falling, for which he won a Straits Times Life! Theatre Award for Best Actor.

He also received a Straits Times Life! Theatre Award nomination for Best Supporting Actor as ‘Ting Tong Bell’ in Wild Rice’s Peter Pan in Serangoon Gardens. This is Andrew’s 5th production with Pangdemonium, and he couldn’t be more thankful.

Other notable theatre credits include: Urinetown (Pangdemonium); Rubber Girl is On The Loose (Cake Theatre); Peter and the Starcatcher (Pangdemonium); Private Parts (Michael Chiang’s Playthings); Mama White Snake (Wild Rice); Every Brilliant Thing (Bhumi Collective); Electra (Cake Theatre); Falling (Pangdemonium); RENT (Pangdemonium); The Emperor’s New Clothes (W!ld Rice).

Andrew is represented by FLY Entertainment.

End of the Rainbow Creative Team

Tracie Pang Director/ Producer

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 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; 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 & Boys; The Mother; and The Glass Menagerie

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

Associate 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 and The Glass Menagerie

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

Peter Quilter

Playwright

Peter’s plays have been produced in over 40 countries around the world and translated into 30 languages. He has had three successful shows in London’s West End, a hit run on Broadway, and has twice been nominated for the Olivier Award - for Best New Play and Best New Comedy.

His first international success was the comedy, Glorious! (the true story of Florence Foster Jenkins the worst singer in the world). The play premiered at the Duchess Theatre in London and has since been seen by over two million people in theatres across five continents.

End of the Rainbow had its world premiere at Sydney Opera House in Australia. The show then played a sold out run in the West End before transferring to the Belasco Theatre on Broadway in 2012, where it was nominated for three Tony Awards. The play has since been performed worldwide and in 2019 was adapted for the movie Judy which won Renée Zellweger the Oscar for Actress in a Leading Role.

Peter’s other work includes the comedy Duets (Face to Face) which has been performed in 20 countries and was recently broadcast “live” on television in Paris. He is also the writer of the musical Boyband which has had runs in London, Warsaw, Cape Town, Bratislava, Tokyo and Amsterdam. His latest play is an all-female comedy Step by Step which had its premiere in July in Barcelona.

Official website for Peter Quilterwww.peterquilter.netz

Eucien Chia Set Designer

End of The Rainbow is Eucien’s seventeenth production with Pangdemonium, following his recent set designs for Muswell Hill; The Glass Menagerie; The Father; The Pillowman; RENT; Fat Pig; and This is What Happens to Pretty Girls

His work with Pangdemonium has often been recognised at the Straits Times Life! Awards, with nominations in the Best Set Design category for The Mother; Urinetown; Little Voice; Spring Awakening; and receiving the Best Set Design award for Dealer’s Choice.

Other Awards: Straits Times Life! Theatre Awards Best Set Design winner for Company (Dream Academy) and December Rains (Toy Factory).

Selected productions: The Commission (SIFA); La Cage Aux Folles (2017), Boeing Boeing (2017), A $ingapore Carol, The Emperor’s New Clothes (Wild Rice); A Good Death (Esplanade Studios); Normal (Checkpoint); H is for Hantu (STAGES); and Sing To The Dawn (I Theatre).

Eucien thanks God for his amazing family.

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, UC San Diego.

James leads the Pangdemonium Lighting Apprenticeship Programme – giving an intermediate level lighting individual an exclusive opportunity to further develop their craft with the company. He is also a returning mentor with The International Fred Foster Student Mentorship Program (Electronic Theatre Consoles Inc.) – assisting lighting design and technology students make the transition into the professional working environment.

Selected Theatre Lighting Design Credits: Dragonflies & Next to Normal (Pangdemonium), Animal Farm & Merdeka (Wild Rice), Disgraced & Hello Goodbye (Singapore Repertory Theatre), Red (Blank Space Theatre in collaboration with Esplanade –Theatres On The Bay) 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).

Leonard Augustine Choo Costume Designer

Leonard is an international costume designer, fashion consultant, educator, and bespoke maker currently based in Singapore. He designs costumes for dance, opera, theatre, and film, and was the principal fabric shopper for the costume department of the New York City Ballet for 12 seasons, working on over 75 unique ballets.

Design credits include: The Glass Menagerie, The Son, Urinetown, This is What Happens to Pretty Girls, and Late Company (Pangdemonium); Guards at the Taj, Gretel & Hansel, and The Truth (Singapore Repertory); iSing International Opera Festival (Suzhou, China); American Ballet Theatre Fall 2018 Campaign Video; Moulin Rouge Commercial Spot (New York); Forest Boy (NY Musical Theatre Festival); Imagining Madoff and Pattern of Life (New Repertory Theatre); Don Giovanni (BU Opera Institute and Huntington Theatre); and House (Boston Centre for American Performance).

Leonard has done work for the Juilliard School, the television shows Gotham (FOX) and Crashing (HBO), TransSiberian Orchestra, Ballet Academy East (New York), Barrington Stage Company, and Opera Omaha, and has lectured at the Arkansas Arts Centre, National Library, and LASALLE College of the Arts.

Holding a Master in Fine Arts from Boston University, Leonard was the first and only costume designer awarded the Singapore National Arts Council Overseas Arts Scholarship in 2011.

End of the Rainbow Creative Team

Ctrl Fre@k

Sound Designers

Ctrl Fre@k is a show, system design and management company specialising in areas like performing arts, themed attractions and commercial events. The brainchild of like-minded individuals who, based on their extensive experience working in key areas of technical production including sound, lighting and video as well as both production and technical management for all scales and manners of productions in these ever-expanding fields.

Since January 2010, Ctrl Fre@k seeks to provide well-researched, ingenious and high quality design solutions that increase the production value of every projects that we have undertaken.

At the same time, providing reliable technical support and acute problem solving sensibilities that safeguard the interest and integrity of the production from conception, rehearsal and ultimately, the show(s).

Notable recent sound projects include: LKY – Musical / Julius Caesar / Romeo & Juliet – Singapore Repertory Theatre; Assembly / With Time / Chinatown Crossings – Drama Box; Mepaan with SCO / Ubin - SIFA 2022; Every Brilliant Thing / No Disaster on This Land – The Fingers Player; / Rhythm of US with SSO and Singapore Ballet - SIFA 2021; Urinetown / Peter & The Star Catcher / Rent - Pangdemonium; Fragments by Ryuichi Sakamoto – SIFA 2020. Time Traveller Pathfinder – Singapore Bicentennial Experience 2019.

Ashley Lim Hair Designer

Ashley started his hairstyling career in 1986 and set up Ashley Salon in 1999 in order to further pursue his dedication towards the art of hairdressing, especially with theatrical work. Ashley became involved with theatrical work in 1987 and has since worked on almost 300 productions of local and international standards. Many of these productions were participants of festivals, some of which became nominees and/or winners of various art awards.

Ashley has gained a wide range and depth of experience working with all the leading professional theatre companies of Singapore. He has had the opportunity to create hair designs from diverse cultures and periods. His skill is extensive, the result of more than two decades of hairdressing experience. He is privileged to be widely recognised by the local theatre community as a veteran in his artistry.

Ashley is particularly thrilled to have participated in Broadway Beng! Jiak Liu Lian (Dream Academy), Beauty & The Beast ( W!LD RICE), Victor/ Victoria (Zebra Crossing) and The Monster Show (Universal Studios Singapore) and most recently, Monkey Goes West (W!LD RICE) , Tempest (SRT) , Dim Sum Dolly part 1 n part 2 (Dream Academy) .

Bobbie Ng (The Makeup Room)

Make-up Design

Bobbie Ng has been passionately involved in makeup for more than 20 years. She co-founded The Make Up Room, which was was started with this belief in creating a space that appreciates and respects one’s beauty.

“I never get bored of being a makeup artist. Because every client is different, every show and photoshoot has its own challenges. The spontaneity and thinking on your feet is my adrenaline for each assignment.

I first started makeup working at MAC Cosmetics, where I was introduced backstage, doing makeup for fashion shows for international brands as well as local theatre productions.

Fashion and Theatre has given me the versatility in crafting looks that goes from nude and real to colourful and avant-garde.

As a theatre makeup artist, I find it so important to be able to balance this scale between being real and over the top. Because not every show is theatrical, and even when it is, executing the right makeup is so crucial to not distract an actor ‘s expression, and giving the actor a space that is comfortable and right for the character.”

Till date, The Make Up Room has been involved in more than 200 local theatre productions and their recent backstage involvement this year includes various shows at Huayi2022, SIFA 2022 as well as works for Wildrice, Dream Academy, Singapore Repertory Theatre etc.

End of the Rainbow Orchestra

Joel Nah

Music Director/ Arranger

Selected musical theatre credits, as music director/bandleader:

RENT, Next To Normal, Spring Awakening, Peter and the Starcatcher, Stephen Sondheim’s Company, Forbidden City - Portrait Of An Empress. As musician/ associate MD: La Cage Aux Folles, Little Shop Of Horrors, The Lion King, WICKED, The Addams Family, Evita, West Side Story, Phantom of the Opera, Aladdin. Other Singapore musical theatre credits: Beauty World, Crazy Christmas, Dim Sum Dollies’ History of Singapore, 881 The Musical, The Best Of Broadway with Earl Carpenter. As composer: Ramesh Meyyappan’s Off Kilter; Esplanade’s March On 2022: I Have Something To Say. As orchestrator: SIFA 2019 Festival Closing Concert with the SSO.

A recipient of Singapore’s National Arts Council Arts Scholarship in 2014, Joel studied classical piano with Ong Lip Tat, and was mentored by Cultural Medallion recipient Iskandar Ismail. At Berklee College of Music, Joel studied film music composition with Alfons Conde, conducting with Constantino Martínez Ortz, orchestration, arranging and audio mixing masterclasses with Conrad Pope, Nan Schwartz, Dr. Norman Ludwin and Alan Meyerson.

Joel is also a member of the TENG Company, overseeing the music department. He is excited to be working with the Pangdemonium team once again.

Joel still firmly believes that at the end of every rainbow, lies a pot of gold.

Brandon Wong

Acoustic Bass

Brandon Wong’s name is synonymous with the classical, jazz, pop and musical theatre scene in Singapore.

A graduate of the Yong Siew Toh Conservatory of Music, he is a brilliantly versatile double bassist and electric bassist. Between 2006 and 2022, encompassing all musical genres, Brandon collaborated with major ensembles including the Singapore Armed Forces Bands, Singapore Symphony Orchestra, Singapore Chinese Orchestra and the Metropolitan Festival Orchestra.

Brandon’s involvement with major touring shows is prolific; he was the resident bassist for Disney’s The Lion King, an inaugural and longest running local musical for Marina Bay Sands in 2011, and Michael Nyman’s Facing Goya at the official reopening of Singapore’s Victoria Theatre in 2014. Brandon has toured with sixtime Grammy award winner, Daniel Ho and the world’s premier pipa virtuoso, Wu Man. Other musical theatre performances include The Phantom of the Opera, Disney’s award-winning musical, Aladdin, and the recent restaging of The LKY Musical.

The event of COVID has transformed Brandon into a man with many roles.

A musician, a luthier, a recording producer and engineer, and finally, father of a lovely 5 month old daughter, Carmelle.

Brandon is extremely thankful to be working with the Pangdemonium family once again!

Fabian Lim

Saxophones, Flute

As a music educator, Fabian believes in performing music. He continues performing for any manner of events and concerts on the saxophone, flute, and clarinet.

In the pre-pandemic Disney’s Aladdin tour, Fabian switch between different woodwinds in the orchestral pit, one instrument at a time. He has played on the stage in Jakarta’s Java Jazz Festival, Tokyo’s Summersonic Festival, Singapore’s Sing Jazz Festival, Kathmandu’s Jazzmandu, among many festivals. Mostly, he plays the saxophone with local and international musicians like David Foster, Incognito, and the Lincoln Center Jazz Orchestra, among many others. Sometimes noodling on other wind instruments.

Fabian recently tooted the penny whistle in J.J. Lin’s production of a Taiwanese movie theme song and a Mediacorp serial theme song by Singaporeans, songwriter Jim Lim and vocalist Jocie Guo. Fabian finished playing woodwinds and keyboards in Dream Academy’s Dim Sum Dollies’ Still Steam and the Singapore Repertory Theatre’s The LKY Musical

As a travelling peripatetic music man - tutoring and lecturing, Fabian persistently imbues the love of all things music to the littlest pre-school to post-graduate students. When he grows up, he hopes to be a doctor one day. Soon.

End of the Rainbow Orchestra

Kenneth Lun

Trumpet

Kenneth Lun graduated from the prestigious Peabody Institute of the John Hopkins University, Baltimore MD, USA with a Bachelor of Music (Major in Trumpet Performance and Minor in Jazz Trumpet).

Since coming back from the USA, Kenneth has had a distinguished career in the music scene. He currently serves as principal trumpet of the Singapore Lyric Opera Orchestra, and also plays lead trumpet with JASSO and the Summertimes Jazz Band. Kenneth is also a Yamaha Artist.

Apart from the concert stage, Kenneth is also an experienced and one of the most sought after trumpeters in musicals. His list of performances include Cabaret, West Side Story, The King and I, Chitty Chitty Bang Bang, Beauty World (solo trumpet), The Magic Box, Sing Dollar!, Victor/Victoria, Fried Rice Paradise, Wicked, A Chorus Line, My Fair Lady, The Sound of Music, Singapura and The LKY Musical, amongst many others.

Regan Wickman

Trombone

Prior to living in Asia, Regan worked as a professional freelance trombonist and instructor in Los Angeles, California for 15 years. His varied career included travels throughout North America, Europe and Asia, working with ensembles as diverse as the Disneyland Band, Jimmy Dorsey Orchestra, Caribbean Cruises, and the Stan Kenton Reunion Orchestra. He also spent 12 years in the orchestra pit playing dozens of Broadway shows with Music Theatre of Southern California.

Since relocating to Asia in the mid-1990’s, his work has included stints in Nagasaki Japan, Bangkok Thailand and Hong Kong, as well as performing at numerous regional music festivals in China, Malaysia, Singapore, India and Nepal. During his 14 years in Singapore, he taught at United World College and worked with theatre companies Pangdemonium and BASE Entertainment Asia as both musician and orchestra contractor for shows such as Urinetown, WICKED, Phantom of the Opera, Sound of Music, A Chorus Line, Evita and Aladdin

Regan studied jazz at the University of North Texas, and also holds a Masters Degree in trombone performance from California State University, Long Beach.

Rizal Sanip Drums, Percussion

Rizal Sanip is a home-grown drummer, whose passion for music has propelled him into musicals starting with “Honk!” in 2002. Serving as a regular in the Singapore Armed Forces Central Band for 13 years, he’s had the honour of a few roles - percussion section leader, drum major, arranger/guitarist for dance band and emcee for concerts, to name a few. Involved in ceremonial segment of Singapore National Day celebrations from 1990 to 2003.

A studio musician as well, he plays drums, percussions and trumpet. Producer for Universal Production Music as arranger and composer.

Rizal’s working relationship with Pangdemonium, Dream Academy, Wild Rice Productions, SRT, Vizpro, Toy Factory and Base Entertainment has provided him with ample opportunities to work in theatre productions as a session drummer. He has also played instrumental roles in nurturing young minds, teaching music at both international and local schools in Singapore.

Touted as a witty, highly sensitive, and versatile drummer who responds to all situations with grace, talent, and finely-honed skill, Rizal has a great sense of musicality in which he puts the music above all else. Never overplaying or underplaying, Rizal fills every role in the right vein to contribute to the overall beauty of the musical moment.

To enrich his experience as a veteran musician, Rizal went back to school at age 48, to obtain a music degree from Lasalle College of the Arts.

He feels blessed to have a career in music, continually be involved with major theatrical productions and is thrilled to be part of End of the Rainbow

End of the Rainbow Production Team

Cast

MINA KAYE

Judy Garland

SHANE MARDJUKI

Mickey Deans

TJ TAYLOR

Anthony

ANDREW MARKO

Radio Interviewer/ Porter/ ASM

Creative Team

TRACIE PANG

Director

PETER QUILTER Playwright

JOEL NAH Music Director/ Arranger TIMOTHY KOH Assistant Director EUCIEN CHIA Set Designer GRACE LIN Associate Set Designer

JAMES TAN Lighting Designer LEE YEW JIN (CTRL FRE@K)

Sound Designer

JING NG (CTRL FRE@K) Sound Designer

LEONARD AUGUSTINE CHOO Costume Designer ASHLEY LIM Hair Designer BOBBIE NG

(THE MAKEUP ROOM) Make-up Designer

Orchestra

JOEL NAH

Keyboard

BRANDON WONG

Acoustic Bass

RIZAL SANIP

Drums, Percussion

FABIAN LIM

Saxophones, Flute KENNETH LUN

Trumpet

REGAN WICKMAN Trombone

Production & Stage Management Team

CAT ANDRADE Stage Manager NURLIANA HARON Assistant Stage Manager GILLIAN ONG Assistant Stage Manager OOPS Technical Manager DANIEL SIM Props Master

TAN JIA HUI Costume Coordinator LILY SOLK Costume Assistant

NURHIDAYAH MAHADI

Dresser

TABBY KOH Dresser

MICHELLE WAI Hair Assistant

ENQI CHEE (ROADIE PTE. LTD)

Lighting Board Programmer JEAN YAP (CTRL FRE@K)

Sound Operator

AMIRUL AZMI

Lighting Apprentice IAN LEE Technical Management Apprentice

Special Thanks NIKHITA GANESH

Pangdemonium Team

TRACIE PANG

Artistic Director/ Managing Director ADRIAN PANG Artistic Director/ Producer

RENEE TAN General Manager

KIMBERLY WONG Company Manager CRISPIAN CHAN Creative Director/IT TIMOTHY KOH Associate Director KRISTAL ZHOU Marketing Manager JASPER LIM Creative Designer LEAH SIM Production Manager SUNITHA NAYAR Production Manager CAT ANDRADE Company Stage Manager KUSUM SANDHU Fundraising & Engagement Manager CLARE YURU Business Development Manager GUILLAUME VAUTRIN Accounting Manager GUINEVIERE LOW Company Administrator KEERTHANA RAVI Production Apprentice MAN LIN Ticketing & Marketing Assistant JAMES TAN Associate Artist

Pangdemonium Board

RAEZA IBRAHIM

JOHN CURRIE

DEBBIE ANDRADE LEONARDO DRAGO DR. JADE KUA BEATRICE CHIA-RICHMOND TRACIE PANG ADRIAN PANG

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. The programme culminates in a special showcase.

Our alumni have gone on to programmes in LASALLE and made their professional debuts in shows like Fun Home and The Great Wall Musical.

Triple Threats returned in 2022 after a two-year hiatus, and will be back in mid-2023.

Very Youthful Company

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

VYC’s inaugural production was Chatroom by Enda Walsh, staged last year at the Drama Centre Black Box.

This December, our 2022 participants will perform Failure: A Love Story by Philip Dawkins at the SOTA Studio Theatre. Our 2023 edition will run in the later half of next year.

New Works Lab

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

This year, Rachael Ng was selected to further develop her script, Toilet Play, with our Associate Director, Timothy Koh through stages of redrafting, feedback, and inquiry.

The process-focused program culminated in a workshop and staged reading in July 2022.

Submissions for 2023’s New Works Lab will open early next year.

Technical Apprenticeships

Our Technical Apprenticeship programme offers a full-time, 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 work with our professional stage management teams from pre-production through 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 daytime rehearsals and become an active running crew member during evening 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 post production.

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 work with our full-time production management staff.

Production management has the critical role of keeping a production running smoothly from conceptualisation 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, 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 a 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.

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.

We’re looking for early-career 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).

• Over 18 years old.

• Willing to clock irregular working hours.

• Can commit for the length of the production (depending on individual apprenticeships, may be anything from 2 to 6 months).

• Word processing and spreadsheet experience is also required.

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

Thank you for being our Friends!

White Knights

The Diana Koh Foundation

Winged Crusaders

Anthonia Hui & Leonardo Drago Holywell Foundation

The Grace, Shua and Jacob Ballas II Charitable Trust

Crusaders

Jacqueline Ho, Esq

Mrs. Lee Li-Ming

Superheroes

Conrad & Andrea Lim Desmond & May Lim Harris Zaidi

Jim Rogers & Paige Parker Oh Jen Jen

Prof.Tommy Koh Roopa Dewan Russell Heng Heroes

Anonymous

Dr. Irene Lim & Prof. David Stringer Ferdinand de Bakker & Yoon Lai Cheng Heng Gek Hwah

Jaime, Erin, Emily, Erica & Evelyn  James & Rebecca Orme John Currie & Hong Sun Chee Katherine Krummert & Shawn Galey Michelle Sassoon

Michelle Shek & Harry Brilliant Ronald Gwee

SL Chan

Suzanne Lim

Sze Wei Goh

Toh Wei Seng Veronica Hong & Edward Ion

Champions

Aileen Tang

Alvin & Christina Liew Angela Wu

Anonymous

Audrey Chng Carolyn Lim Siew Choo Catherine Cheung & Elvin Too David Neo

Dr. Serene Ng

Dr. Tan Eng Thye Jason Duncan Kauffman Goh Kok Wee Gretchen Liu Han Jok Kwang Kang Mei Ling Kevin & Dina Coppel Khoo Teng Seen Koh Woon Teng & Alan Ng Leslie Lee Lim Mingcheng Mary Ann Tear Melanie Tan Novus Ferro Pte Ltd Pang Siu Mei Robin Arnold Ronald & Janet Stride Sehr & Ashnil Dixit Steve Miller & Pat Meyer William & Teresa Neo Yap Su-Yin Yvonne Soh Yvonne Tham

Pangdemaniacs

Andrew Lim Ang Siew Hui & Hock Tan Anonymous Anonymous Anonymous Antonio Castellano Audrey Phua Brian Selby & Angelina Chang Carla R Forbes-Kelly Cassandra Ronald Cherilyn Chia Chia Yu Hsien & Linda Lim Chiming Ngu Christopher Pang Cynthia Wong

Dominik von Wantoch-Rekowski

Dr. Christopher Chen

Elissa Oh

Elizabeth Mariko Gomez

Esther Khoo

Eugene Ang Foo Yee Ling

Frites Digital Pte Ltd

Geoffrey Baker

Geraldine Ang

Grace Chiam Gregory Tan Huang Xiangbin

Hui Boon Tng

Hwee Suan Ong

Jason Tan Choon Chin Joee Ng Jorin Ng Kevin Chang Khoo Swee Koon Koo Kai Siong Lee Eng Hin & Saralee Turner Lim Lay Keow Loh Soon Hui

Lone Lee Mahita Geekie Mark Lee Maryanne Gul Matthew Flaherty Maurice de Vaz Mayer Tung Nithia Devan Ong Pei San Pierre Colignon PS & KF Rajesh Achanta Rebecca Yeoh Richard Hartung Ronald JJ Wong Ross James Sandra Gwee Sardool Singh Selina Chong Sharon Solomon

Silver Rita Elaine Susan Sim Tan Lijun Teo Kien Boon

TwoGoods Haus Pte Ltd

TwoSpuds Pte Ltd

Vidula Verma Wynnii Lu Yap Zhi Jia Yichun Ng

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

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

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.

PangsGiving –Returning in 2023!

Forget about the run-of-the-mill charity ball formula! In true Pangdemonium spirit, we introduced PangsGiving in 2019 - our version of a deconstructed Gala Ball, where we raised funds and had fun in a most unique way! It was a wonderful success, garnering fabulous feedback from our dinner hosts and guests.

As Pangdemonium steadily emerges from the challenging pandemic crisis, we are very excited to announce that PangsGiving returns on 9 February 2023!

Fundraising is an integral part of keeping the arts industry alive. As our signature fundraiser of the year, PangsGiving will raise funds that are critical in supporting the 3 productions that we stage each year, and the numerous education and outreach programmes that we embark on to create accessible opportunities for the next generation of audience members, artistes, and theatre practitioners.

In 2023, we are planning an unforgettable evening that will take you on a gastronomic experience – with top restaurants and celebrity chefs. Dine with well-known personalities and engage in meaningful conversations about the arts and life!

Dinner will be followed by an after-party where all guests and hosts will convene at an exclusive surprise venue to party the night away!

Donations start from $400 a seat. All proceeds will go towards continuing the good work Pangdemonium has been doing for more than a decade – bringing ass-kicking adventures to the theatre! All donations will receive a 250% tax exemption.

Help us sow the seeds for a more vibrant and progressive theatre industry, and pave the way forward towards a greater love for the arts among our communities.

For partnership collaborations and sponsorship opportunities, please contact us at fundraiser@pangdemonium.com Thank you for your support!

PangsGiving 2019 Highlights

Pangdemonium’s Season Ticket is back!

After a hiatus of three years, we are thrilled to bring back our highly anticipated Season Ticket to accompany our equally exciting 2023 season! Three ass-kicking shows for one ass-kicking price.

There has never been a more important time to come show your support for the Arts.

Pangdemonium’s highly anticipated 2023 Season line-up includes stories that will excite, inspire and empower you and your loved ones.

Become our Season Ticket holder and save up to 28% on every standard ticket. As a Season Ticket holder, you also get to enjoy special perks such as priority booking, unlimited ticket exchanges and personalized concierge services.

The 2023 Season Ticket is now available from our website at pangdemonium.com or sistic.com.sg.

Terms and conditions apply.

GREAT SAVINGS

Save up to 28% off standard ticket prices.

PRIORITY BOOKING

Secure the best seats in the house ahead of public sales for each show.

FREE EXCHANGES

Flexibility to change your booking up to 48hrs before your show.

HASSLE-FREE TICKETING

Simply flash your e-ticket to enter the theatre.

PERSONALISED SERVICE

No chatbots here – our terrific Ticketing Team will be here to assist you.

SUPPORT LOCAL

Be a part of the Pangdemonium family and support the work we do!

More like old pals, less like a bank.

A part of your life in everything you do, and someone you can trust to always have your back.

World’s Best: 5 Years Running

PEOPLE, PLACES & THINGS

BY DUNCAN MACMILLAN

DOUBT: A PARABLE

BY JOHN PATRICK SHANLEY

INTO THE WOODS

MUSIC AND LYRICS BY STEPHEN SONDHEIM BOOK BY JAMES LAPINE