Falling (2024) Programme Booklet

FALLING

BY DEANNA JENT

DIRECTED BY TRACIE PANG

FALLING

BY DEANNA JENT

DIRECTED BY TRACIE PANG

ASSISTANT DIRECTOR TIMOTHY KOH

LIGHTING DESIGNER JAMES TAN

STARRING (IN ALPHABETICAL ORDER)

as Lisa

REBECCA ASHLEY DASS as Bill DWAYNE LAU as Nana LOK MENG CHUE as Josh ANDREW MARKO as Tami KAREN TAN

SET DESIGNER EUCIEN CHIA

SOUND DESIGNER & COMPOSER JING NG

DIRECTED BY TRACIE PANG

PRODUCED BY TRACIE PANG AND ADRIAN PANG

ASSOCIATE SET DESIGNER GRACE LIN

ASSOCIATE SOUND DESIGNER JEAN YAP

8 TO 24 MARCH 2024

SINGTEL WATERFRONT THEATRE

The duration of this performance is approximately 1hr and 30mins, without an interval.

If you’ve met one person with autism, you’ve met one person with autism.

When we first staged FALLING in 2016, the impact it made on audiences was palpable:

“I would like to thank Pangdemonium for helping us broach this almost taboo subject, and I pray that such awareness will move people into asking ‘How can I help?’”

— Friends of ASD Families;

“I do so hope many people will get a chance to catch this extraordinary show about unconditional love that overcomes struggles.”

— Audrey@SAys Happy Mums;

“Really thankful for Pangdemonium – they continue to bring us plays that touch the heart, enlighten, inspire, educate, and better society as a whole, just as they have made me believe art and theatre can.”

— Shawna.

In the intervening eight years, efforts have been made to improve care options for individuals on the spectrum; in certain circles, there has been more of an awareness and acknowledgement of persons with autism; we ourselves have come to recognise the condition among people we’ve known for years.

But much more needs to be done. We need more education, more funding, and more care options. Awareness and acknowledgement do not necessarily equate to acceptance and assimilation. And the diversity/inclusion sociocultural landscape has changed so radically that it is now increasingly challenging to navigate the practical, political, and personal nuances that surround the subject of autism.

So, we felt we had to tell this story again – through a new lens.

We recognise that in staging this play, there might be those who feel un-represented or even mis-represented, who feel that their story has not been told.

But FALLING is one very specific story. The behaviour exhibited by Josh, the boy in FALLING, is not typical of every individual with profound autism. No two individuals with autism are alike. Indeed, if you’ve met one person with autism, you’ve met one person with autism. Many persons with autism assimilate into the community without us even being aware that they are on the spectrum; and at the other end of the spectrum, some individuals are non-verbal and/or nonresponsive and/or aggressive and find it much more challenging fitting into our “neurotypical” society. And in between the two extremes is an infinite variety of individuals of infinite degrees and forms of the condition.

However, Josh’s behaviour is documented in many real-life cases, and the incredible family members we have met have testified about how much they recognise themselves in the play. FALLING playwright Deanna Jent is the mother of a boy with profound autism, writing from her own experience as a mother so pushed to the edge by her son’s condition, that she fears she might give in and fall at any moment. Because caregivers’ trauma, fatigue and fears are real, as real as their strength, self-sacrifice, and love.

FALLING is not a “sob story”.

It is not a “pity party” or a sensationalistic celebration of a martyr. It is merely one chapter of one family’s life and leaves us on a note of “to be continued…”, with a need for a renewal of hope, strength, and faith. So, this really is an examination of one parent who is fiercely, inextricably committed to loving and creating a better life for their “difficult” child – a child whose everyday behaviour causes mental anguish and physical pain, and whose condition threatens to tear the family apart. FALLING gives us a glimpse of such an unconditional love.

It also highlights the need for society’s apathy towards autism to be replaced by empathy, and judgmental attitudes towards “falling” caregivers to be replaced by compassion. There are no easy answers. If FALLING makes you grateful for your own life, that’s all well and good. But we sincerely hope that in re-telling this story now, it will open yet more eyes, minds, and hearts, and make people talk about a subject they are afraid to even think about, and maybe take some action.

To Autism Network Singapore and the incredible families with whom we’ve had the privilege of working on this production, to all the individuals and organisations dedicated to caring for people with autism – this play is dedicated to you.

Our deepest gratitude to Pangdemonium’s wonderful Season Patron DBS; our Supporters SG Enable as well as Shaw Foundation; “Special Thanks” Donors BinjaiTree, OUE and Tote Board Arts Fund; our Official Storage partner StorHub; our Official Wine partner Dorothy’s; our lovely Marketing Partners: Autism Network Singapore, CaringSG, and Extraordinary People, and lastly, Choo Kah Ying from A Mother’s Wish.

To our fantastic, fearless cast; our brilliant Creative, Production, Technical and Stage Management teams; and the hard-working, hard-loving Pangdemonium family – our heartfelt thanks to each and every one of you for making this special production even more special.

To our fantastic Friends of Pangdemonium, terrific 2024 Season Ticket holders and Corporate Donors – thanks for all your love, faith and support.

For now, thank you for being brave enough to come FALLING together with us.

Lots of love,

What is Autism?

Autism is a lifelong developmental condition which affects how people communicate and interact with the world.

Autism is known as a spectrum condition as no two persons diagnosed with autism are the same.

Every person on the autism spectrum is to be understood so that we can find the best way to support them and help them better adapt to the community.

Signs and Symptoms of autism

Autism can be diagnosed at any age from the first three years and in adulthood. However, certain presentations of autism may not be diagnosed until a child enters primary school, where the main presenting issues may involve difficulty with social interaction and anxiety.

To be given a diagnosis of autism, a person must present with clinical characteristics in the following areas (referencing the criteria in DSM-V-TR):

Social Communication and Social Interaction

Restricted, Repetitive Behaviors and Interests

Other reasons for behaviours commonly associated with the condition are:

The diagnosis of autism requires careful assessment by an expert team of qualified professionals. The team is commonly madeup of a developmental pediatrician, psychologist, speech-language therapist and an occupational therapist.

The diagnostic process is usually concerned with determining the:

PRESENCE of unusual developmental features such as repetitive movements, rigidity/inflexibility, sensory problems,

ABSENCE of usual developmental features such as social intuition and behaviour, interest in people, imaginative play, and language, and

CO-OCCURRING conditions such as seizures, anxiety.

Tips for Caregivers

As a caregiver for a person on the autism spectrum, you might be feeling worried, lost or even overwhelmed. Instead of focusing on the diagnosis, it would be beneficial for you and your loved one with autism to:

Focus on meeting his/her developmental needs, whether it is in developing or improving communication, socialisation, cognitive or sensory processing skills.

Seek help or recommendations on next steps from a doctor and/or a relevant professional.

Know that you are not alone. There is an existing network of dedicated organisations and resources available to support you in your caregiving journey.

Tips when interacting with Person on the Autism Spectrum

Be Patient

and give the person on the autism spectrum some time to process and respond.

Speak Literally & Directly Example: tell them 'it is raining very heavily' and not 'it is raining cats and dogs'.

Where to get assessed for autism in Singapore

A comprehensive assessment will lead to a definitive diagnosis and recommend suitable therapy or programmes for your child.

For Pre-Schoolers and Children under the age of 7

KK Women's and Children's Hospital Department of Child Development and NUH Child Development Unit at Jurong Medical Centre

For children aged 7 to 12 years old Developmental & Behavioural Paediatric Services at NUH's Children's Clinic 2

For children and youths aged 5 to 19 years old

Child Guidance Clinic at Institute of Mental Health / Health Promotion Board

Stay Calm

When the person on the autism spectrum show signs of distress. Speak gently and clearly. Be patient.

Myth busters:

Some facts and myths about Autism

Myth Fact

Autism can be cured.

Individuals on the autism spectrum avoid social contact.

Autism is not a disease so there is no cure. Many individuals on the autism spectrum can still live good quality lives when the appropriate autismfriendly supports are provided.

Person on the autism spectrum are often keen to make friends but can sometimes find it difficult due to differences in the way they process information and language.

Autism can be outgrown.

Autism is the result of bad parenting.

Individuals on the autism spectrum do not have feelings and thus are unable to show affection.

Children do not 'outgrow' autism but symptoms may lessen or change as the child develops and receives appropriate interventions.

Although causes of autism are not definitively known, it is known that parental behaviour does not cause the development of autism.

While sensory inputs are processed differently for some, individuals on the autism spectrum can and do give affection. However, it may require patience on the part of others to accept and give love on the person's terms.

Prevalence of Autism in Singapore

How many people in Singapore have autism?

In Singapore. there is no formal study on how many persons are on the autism spectrum. According to Singapore's 3rd Enabling Masterplan (2017 -2021), the prevalence rate is 1 in 150.

individuals in Singapore’s population

individuals on the autism spectrum

Estimated number of new cases diagnosed annually. are under

the age of 20 years.

Support for Autism: Where to get it

(for both caregiver and person on the autism spectrum)

Support for young children

While there is no known ‘cure’ for autism, children can be helped, especially if their autism is diagnosed early in life.

Children on the autism spectrum often require intensive instruction and practice in the core skill areas of social interaction, communication, thinking, self-help, and independence.

Various types of early intervention for autism and other developmental conditions exist and may be available to you.

Most interventions are aimed at helping children on the autism spectrum access learning and independence.

Choosing intervention practitioners for your child requires careful consideration and review.

Specialised early intervention can give people the skills necessary to lead meaningful and productive lives.

Support for students & adults

As a person on the autism spectrum enters adolescent and adulthood, there is a continued need for support, education, and guidance. Typically, ongoing services are required to help the person on the autism spectrum to:

Develop social safety and problem solve every day experiences.

Negotiate higher education options, meet work productivity demands, and achieve vocational skills through job coaching.

Develop daily routines, public survival skills, understand and comply to social rules and expectations.

Develop skills in planning, organising, and extending leisure pursuits.

Develop positive relationships with others.

Understand and cope with sexuality issues.

Manage stress and anxiety.

You

It was May 24, 2016. The post-show dialogue of Pangdemonium’s first run of Falling was taking place, with myself, the cast, and the director on the panel. However, the darkened auditorium had plunged into a kind of stunned silence, as though the audience had their wind knocked out of them in unison. Just moments before, I had recounted my traumatic car ride with Sebastien, my then-20-year-old autistic son, the day before…

While I was taking him to his gym session, he rained down a barrage of blows on me in the backseat. Even though we were on the freeway, the Uber driver pulled the car to the side of the road so that I could escape from Sebastien. It was yet another space, yet another part of the day, where I could no longer feel safe from his unpredictable meltdowns.

As I spoke on stage that night, under the searing brightness of the illuminated stage that swallowed most of the audience into a sea of darkness, I felt liberated from the need to put forth a sanitised version of my parenting reality for the sake of social decorum. Impelled by the lingering pain of my face, which was slightly bruised and swollen, I sought vindication for my helplessness, frustration, and resentment towards my son. In my grief, I wanted those who lived outside of the autism universe to bear witness to the tragedy of my life.

But nothing worked: I was either getting attacked by him or dealing with the police or members of the public.

Until Sebastien turned 15, I had taken pride in committing to my daily effort of creating and delivering customised templates containing a combination of hangman prompts, supplementary clipart, and clue words to build Sebastien’s basic literacy and numeracy skills. Furthermore, Sebastien had also developed interests in painting, skating, and performing handson tasks such as cooking.

All in all, I saw myself as an accepting mum with reasonable expectations about Sebastien’s future. With Sebastien struggling with cognitive learning, I was not harbouring any illusions that he would become a fully independent adult. Nonetheless, I was driven by a tacit ideal of Sebastien as a young man who could fit within the norms of society to the best of his ability and contribute to mainstream society.

Then little by little, and then at an accelerated pace, my homeschooling universe fell apart when Sebastien experienced puberty. Every day, he was tearing apart the edifice that I thought we had painstakingly co-created. Powered by his hormones, Sebastien was breaking social norms — obsessively tugging at his penis, pulling out his eyebrows, removing labels and stickers in public, and soiling himself on purpose, among many other things. It was no use reminding him about the rules of appropriate behaviour: he would shout at me in public about my rules and hit me at the slightest provocation.

I shifted across the parenting pendulum from seeking to re-impose my strict rules by cancelling outings as a punishment to letting him go out on his own to enable his independence.

Over time, Sebastien’s meltdowns were worsening to the point that anything could set him off: a seatbelt out of place in an Uber car, a lightbulb that was not working, and official stickers that he could not remove. And when anything didn’t go his way, he would come for me. My mission of home-schooling Sebastien had turned into a living hell.

In pursuing the “Bali solution”, my partner Jerome and I were driven by our observation that Sebastien loved nature. At the same time, we also saw the need to sever this invisible umbilical cord tying Sebastien and me together, preventing him from growing up. I needed to get out of his way.

It wasn’t an easy thing to do. The first time I left Sebastien, I felt as though I had left a piece of my heart behind.

Fast forward to end-2023.

In the flash of an eye, Sebastien has been living in Bali for over seven years. I am no longer the hands-on, home-schooling mother of Sebastien. Instead, I am a remote-managing mother, juggling my freelance work and managing his care from a distance.

With this transnational division of labour, I was generating the income to pay for Sebastien’s daily life and his carers, while the carers were responsible for his in-person care. I kept in touch with Sebastien through thrice-a-week video calls (30 minutes each) and learnt about his activities through daily photographs and videos. In between, we would visit Sebastien every 2–3 months with longer trips every six months, whenever we took him out of Bali.

This choice hasn’t been easy. And certainly, our Bali solution has had its fair share of ups and downs. Yet despite setbacks including multiple changes of carers who betrayed our trust in them, we survived the initial heartbreak and overcame the grief of the comings and goings through growing familiarity and experience.

Today, Sebastien is doing a whole lot better. When I say that, most people would automatically ask, “Can he talk?” That’s when I would always take a deep breath, remind myself to be patient, and explain: "No, Sebastien doesn’t talk more than he did before. In fact, he speaks even less. This is who he is. And because he is loved for who he is, rather than who he is supposed to be, he no longer hurts others and himself like before."

Being confronted with Sebastien’s perspective illuminated the harmful impact of my previous parenting years. Sebastien’s aggression and self-injury during his pubertal years were my doing — almost 15 years of pushing him to speak in proper sentences and micromanaging his behaviour so that he would be “good enough” to “participate” in society.

Though my tendency to conjure up these past episodes has diminished with the passage of time, I still cringe at how I had treated Sebastien in the past, thinking that it was for his own good.

Well, over the past seven and a half years, all of us — family and the local carers — have been on a never-ending quest to connect with Sebastien by paying

Instead of imposing our ways on him, we have sought to forge a mutually respectful relationship with Sebastien, which is built upon multiple shared “languages” — a commingling of isolated words, writing, gestures, pictures, movements, and touch.

Ultimately, what helped Sebastien wasn’t just his new home in Bali’s natural environment, nor was it the exposure to the friendly locals. Rather, Sebastien has to feel loved and cared for, for who he is, not the abstract normalised version that he is not.

Thank you, Pangdemonium, for this opportunity to pen this first-person narrative on our “Bali solution.” It is my opportunity for redemption, a “redo” of that night in May 2016. I hope that I have succeeded in telling Sebastien’s

“Rather than bearing it as a burden, I do what I can to help the flower to bloom.”

As part of our research for FALLING, we have met some extraordinary individuals, who shared their stories of courage, hope and unconditional love.

The Tans have a keen sense of humour. When the couple recall their son, Reuel (diagnosed with autism at age two), having to leave playschool for good after a huge meltdown, Mr Tan remarks: “Reuel was also diagnosed with school refusal syndrome.”

Regarding 17-year-old Reuel’s exceptional memory, any mention of an unpleasant event from the distant past may trigger a meltdown, to which Mrs Tan’s response would be: “Stop being historical.”

On a more sobering note, the Tans reveal that it took years to learn to manage Reuel’s behaviour – and also their own. When Reuel was younger, “we learned to exaggerate our facial expressions so he could understand us,” says Mrs Tan, “And in turn, he taught us to tell the difference between a

tantrum and a true meltdown. In fact, our radar must constantly be on high alert to pre-empt meltdowns.” Mr Tan adds: “I used to be hot-tempered, bordering on aggressive. But Reuel has trained me to be patient, because he responds better to gentle treatment.”

The Tan household has endured many breakages in the wake of Reuel’s episodes. “We have gone through many TV sets, cabinets, computer monitors,” says Mrs Tan. “We had to teach him that his actions have consequences: ‘you break the TV, you have no TV to watch.’”

Some years ago, Reuel was in violent “denial” about growing into his teens. “Our older son Ethan and I had to teach Reuel about ‘becoming a man’, Mr Tan reveals with a laugh, “even stripping down to show him that it’s natural to start growing body hair!”

On a family holiday when Reuel was eight, “he was very happy,” recalls Mr Tan, “until the holiday ended, and he had a meltdown, removing all his clothes. We eventually calmed him down, dressed him, and made him understand that a holiday has to end, and we have to return to normal life. We had to teach him to manage his expectations.”

To which Mrs Tan adds: “We ourselves have learned to manage our expectations. That way, everything else is a bonus.”

Their older son Ethan, now 19, is certainly a bonus to the Tans, and they have trusted him to grow into his own person.

Mrs Tan: “Ethan has a high EQ, and he learned from an early age to cope with the family dynamic. He’s not demanding, he just wants quality time with his parents.”

Another “bonus” is Reuel’s inborn gift for art. Mr Tan: “I can’t buy expensive paintings, but I have a son who can paint!”

Mrs Tan asserts that Reuel himself is “a gift”. She says: “I went through the ‘stages of grief’ very quickly. I told myself ‘Life has given you lemons, you better make lemonade.’ This would either break us, or make us strong, and that’s what it has done, made us stronger. Over time, I’ve a grown a thick skin, I don’t get embarrassed any more – he’s MY son. I’ve been given a special child. Rather than bearing it as a burden, I do what I can to help the flower to bloom.”

The Tans feel that institutional care is not right for Reuel, what with the many challenges: inadequate resources to manage every single client’s particular needs, hiring staff willing and able to handle the job’s demands, and creating a nurturing environment that can harness unique skills into viable assets in the “real world”.

For the couple, the best longterm care for Reuel remains with family – ensuring that Ethan is able to live his own life before taking on the responsibility for his brother, as he knows he will one day. Meanwhile, their strategy is to “live long and live healthy.”

Faced with the million-dollar question of whether she would wish for a cure for autism, Mrs Tan says: “I have to think about that – would that change the child I know and love?”

“I learned to be patient and show her love, and keep telling her ‘you know I love you, right?’”

When she’s angry, she doesn’t know what pain is, she will hurt others, hurt herself. She had to quit school, after she blinded a classmate with a pencil.”

Mr Lee* is one of the calmest people we have ever met. Which is even more remarkable when he shares his story.

“My daughter used to have violent meltdowns two or three times a week, and she could be triggered by anything,” says Mr Lee. “And she’s very, very strong – probably because she only eats pasta carbonara, for breakfast, lunch and dinner. And she gets angry if we add any other ingredients. She bangs her head against the wall, pulls hair, and she may attack with anything sharp.”

His only daughter, 21-year-old M*, was diagnosed with autism at 11 months. When M reached puberty, she had an experienced live-in caregiver, who helped her manage her first menstruation. “But M was not afraid of the blood,” says Mr Lee, “because she is used to seeing blood. She has so many stitches on her forehead from banging it against the wall.

On family holidays, M is only willing to go to the Riau islands, and they must always stay at the same villa. Mr Lee once booked a different villa, and when M discovered this upon arrival, she had a meltdown, and the holiday had to be cancelled.

Over time, M developed her own sign language that only the family understands. She loves music, particularly what Mr Lee describes as “dark, alternative music, like Depeche Mode”. She refuses to eat with family. And the only external company she accepts are the family’s church friends.

When M has a meltdown, Mr Lee often hears strangers comment: “What’s wrong with that girl? What’s wrong with her parents?” And even he confesses to feeling fearful when his daughter is violent. “But I learned to be patient and show her love, and keep telling her ‘you know I love you, right?’”

Mr Lee admits: “It took me a while, but I learned to find strength in prayer. As a Christian, I never questioned God about my daughter. She is blessed with special skills. Although non-verbal, she understands several languages. She can tell you what date falls on what day of the week, in any year. She’s good with numbers, and also with the Rubik’s cubeshe even gets arrogant about it!” Mr Lee remarks fondly.

While public perceptions and the care system have gradually improved, he feels that they have not changed enough. The nature of autism means that there is no one-size-fits-all care option. Mr Lee also points out that wait lists for care facilities are very long, and criteria for entry are very strict: an autistic individual may be non-verbal and violent, but if they can perform daily functions like feeding themselves and using the toilet, then they probably do not qualify for admission. He also believes that in Singapore, “we are too result-oriented, rather than focusing on process and progress”.

And so Mr Lee is determined to continue being a single parent to his daughter. “My wider family will take over when I’m gone.”

*Not their real names.

“Son, you have the ability to move people to do great things. I am strengthened because of you.”

We first met Sun Meilan during preparations for our 2016 run of FALLING. When we catch up with her now, eight years later, she retells us one particular incident as a turning point in her caregiving journey with her son JY, who began displaying symptoms of autism at age two.

“When the kids were younger,” recalls Meilan, “I once made a bold choice to take them bowling on my own – a big deal because it was an outing with all three kids, to a new, public place. It was JY's first time bowling, and I was thrilled that he cooperated well, and everyone had a great time. Heading home, I had such a feeling of relief and even ‘triumph’.

However, the moment we got home, JY suddenly dashed to the fridge and poured an entire bottle of fish oil on the floor. It was a huge damper on a great day. I was very upset because it was a devastating reminder that having a child with severe autism was like living in an eternal hell. There was no end to it. That night Meilan discovered her daughter, JC, crying. When asked why, JC said she felt so sorry that her little brother had to endure blame for a condition he did not ask for. “I am blessed to have a very special daughter who is my

son’s guardian angel,” says Meilan. “Because of JC's compassion towards her brother, I began to see JY in a different light and was finally able to fully embrace him.”

“I no longer see JY as a source of never-ending trouble, but as someone who offers invaluable lessons on empathy, patience and humanity.” And if there is one thing Meilan hopes JY knows, it would be this: "Son, you have the ability to move people to do great things. I am strengthened because of you."

JY turns 17 this year. Meilan deeply appreciates JC and her elder son JK as pillars of strength during the most challenging period of JY’s growing up years. While she recognises the brutal reality that autistic individuals with high support needs like JY will require long-term supervision and support, she keenly feels that her elder children, who are on the cusp of adulthood, should not be bogged down with responsibilities at this stage when “the world is their oyster”.

These days, Meilan has prioritised self-care and learned “not to bash myself up about whether I can do more. I am kinder to myself now.” She keeps busy with advocacy as founder of Friends of ASD Families, a Facebook community page created as a safe space for fellow caregivers. “We would like people to know that most of us in the autism community are already doing the best we can despite the circumstances. We would need a lot more support from the government and the larger community, to create meaningful engagement opportunities and develop sustainable long-term care facilities, so that our autistic children can lead a more dignified life as they grow into adults.”

To help me best, please see me as an equal human being as you. This means treat me the way you want to be treated.

Philip Reyes is a nonspeaking autistic self-advocate and aspiring writer, who felt like a “caged animal” until he was able to finally communicate through the use of Rapid Prompting Method (RPM).

RPM was developed by a Texas woman, Soma Mukhopadhyay, to help her communicate with her son who has autism. The method involves the teacher using a sheet of paper and pointing to letters to help the person with autism spell out what they’re attempting to communicate.

Although the RPM technique has shown some success, many in the behavioral science community believe it deserves further research.

What’s astonishing is that although Philip does not speak, an article he wrote about living with autism shows a stunning clarity of thought and an understanding way beyond his years.

Here is what he had to share with the world:

“As a nonverbal autistic boy, I am attacking the idea that autism is a bad thing that should be eradicated. For me, autism is a different way of sensing, moving and interacting with the world.

Autism is something I was born with. It is all I know. When I was younger I could not communicate well. I could not express my thoughts even though I had so many. It was not until I was 9 years old that I started to be able to show I had a smart mind under my autistic exterior. It was the year I learned Rapid Prompting Method (RPM) and began to spell on a letterboard. I now write a blog to tell others what autism is like from the inside.

People need to hear more about autism from autistic people themselves. Autistic people don’t like being assumed emotionless and uncaring. When people talked about my concerning behaviors in front of me, I would feel embarrassed and pent-up shame. I was made to feel horrible for my autism. People pitied my family and me.

Teachers were well meaning but believed I could not understand much of anything because I could not talk or write to communicate that I was smart and understood everything going on around me. I became like a pet to train, as everyone tried to make me act normally with candy rewards.

For me, autism is how God made me to get around in the world. Autism lets me see the beauty in nature that people often miss. Autism allows me to think thoughts about other ways of perceiving the world. Autism gives me a close relationship with God.

To help me best, please see me as an equal human being as you. This means treat me the way you want to be treated.

Having a regular education and a school that includes me is important. Many of my autistic friends still are segregated from regular students and are learning at preschool level.

Do not underestimate us. Our minds are bright but many times our bodies cannot follow the instructions from our minds. For example, my mind might want me to hold a pencil to write a note. But nothing works. My hand can’t grasp correctly. I can’t coordinate the fine movement in my hand to form letters. I can’t find my hand in space. I only make soft scribbles.

People see my body acting awkwardly. They mistake my body’s actions for evidence that my mind is dull. I believe many of my autistic peers have the same problem.

I have been lucky that my parents never made the mistake of giving up on finding a way for me to communicate. I appreciate the value of communication because it allows a person to be known. Before communication, I felt like a caged animal because I had no say in my life. Since finding my voice, I feel more human, as people listen to my words. Most people forget how lucky they are to be able to talk. I was not one of the lucky ones, but I was fortunate to learn to type to communicate. Through RPM, I learned to show I could learn normally and communicate.

During that time, I was able to switch from an autism school where I learned basic letters and numbers up to 5, to a regular public middle school where I am included in regular classes. I am with good teachers who understand me. I also have been able to try more new things like riding a bike and playing soccer.

I am much more happy now that I can communicate. I would like to see more nonverbal autistic people have the same opportunities I have. “

Credit: "Communication device opens up the world to nonverbal autistic boy" by Philip Reyes (buffalonews.com)

Donald Triplett, first person diagnosed with autism, dies on 15 June 2023, at age 89

Donald Triplett, the first person to be formally diagnosed with autism, worked for nearly 65 years at a bank in his hometown of Forest, Miss.

As a young boy in small-town Mississippi, Donald Triplett was oddly distant, with no apparent interest in his parents or anyone else who tried to make conversation. He was obsessed with spinning round objects and had an unusual way of speaking, substituting “you” for “I” and repeating words like “business” and “chrysanthemum.” He also showed a savant-like brilliance, naming notes as they were played on the piano and performing mental calculations with ease. When a visitor asked “87 times 23,” he didn’t hesitate before answering – correctly –“2,001.”

Mr. Triplett would make medical history as “Case 1,” the first person formally diagnosed with autism. His upbringing and behaviour were described at length in a 1943 scientific article by Austrian American psychiatrist Leo Kanner, “Autistic Disturbances of Affective Contact,” which outlined the developmental disability now known as autism spectrum disorder, or ASD.

The article went on to describe 10 other autistic children, most of whom were locked away in state schools and hospitals while experiencing communication and behaviour challenges. Checking in with his former subjects almost 30 years later, Kanner would write that institutionalisation was “tantamount to a life sentence… a total retreat to nearnothingness.”

Mr. Triplett, by contrast, gained acceptance and admiration while remaining a part of his community. With support from his family, which could afford to send him to Kanner and which later set up a trust fund to look after him, he graduated from college, got a job as a bank teller and found companionship in a morning coffee club at City Hall. He played golf, sang in a choir and travelled the world, visiting at least three dozen countries and making it to Hawaii 17 times.

By choice, he travelled alone, surprising relatives when he would announce at Sunday dinner that he had recently returned from seeing a golf tournament in California or, in search of an oyster dinner, driven his Cadillac to New Orleans.

Mr. Triplett, who was known as D.T. or just plain Don, was 89 when he died June 15 last year, at his home in Forest, Miss., where he lived virtually his entire life. The cause was cancer, said his nephew, O.B. Triplett.

“Donald was given the opportunity to pursue his passions and his interests, and he was able to build a very happy life for himself on his own terms,” said Christopher Banks, the president and chief executive of the Autism Society, an education and advocacy group. “He was known in his community, he was accepted in his community, and he was celebrated in his community. All of that demonstrates the importance of building an inclusive society.”

Mr. Triplett’s place in history was largely forgotten until journalists John Donvan and Caren Zucker tracked him down while researching the history of autism. They interviewed Mr. Triplett for an 8,000-word article that ran in the Atlantic in 2010 and later expanded their reporting into a 2016 book, “In a Different Key,” which became a finalist for the Pulitzer Prize and was adapted into a documentary that aired on PBS.

“By the time we first met Donald, his generational peers and those who followed had all experienced a lifetime of knowing that Donald was different without thinking that it was a big deal,” Donvan and Zucker wrote in an Atlantic article after his death.

“He was blessed with friends,” they added, “whose explanation for their fondness or love for Donald was always, simply, that he was a great guy. The entire town, in fact, was unaware that he had an autism diagnosis until we first brought that news in 2007. After that, the community became extra proud of the minor celebrity in its midst.”

When Mr. Triplett was diagnosed with autism as a child, the condition was considered extremely rare. Since then, researchers have found that about 1 in 36 children are autistic, according to estimates from the Centers for Disease Control and Prevention. No medical test exists to identify the wide-ranging disability, which can vary in form and severity and is diagnosed by monitoring a child’s development and behaviour.

Researchers are still debating autism’s cause. But “to a remarkable degree,” Donvan

and Zucker wrote in their original article, the broad outlines of autism remain largely the same as what Kanner traced in his study of Mr. Triplett, who was 5 when he accompanied his parents on a train ride north to Baltimore to meet the child psychiatrist who later referred to him anonymously as “Donald T.”

The older of two sons, Donald Gray Triplett was born in Forest on Sept. 8, 1933. His father, Beaman, was a Yale-educated lawyer whose own father had served as the town’s mayor. His mother, the former Mary McCravey, was also part of the town’s elite, from a family that helped found the Bank of Forest.

By age 2, Donald was reciting the 23rd Psalm (“The Lord is my shepherd”) from memory. He had little interest in eating food and seldom paid attention to the people around him, even when his parents arranged a meeting with a man dressed as Santa Claus.

A few weeks before he turned 4, his parents sent him to a staterun institution 50 miles from home, in a Mississippi town called Sanatorium. Donald turned inward, sitting motionless and paying little attention to music or toys, until his parents took him out after about a

year, against the advice of a facility director who claimed that Donald was “getting along nicely.”

In October 1938, they took him to see Kanner, a professor at Johns Hopkins University. The psychiatrist kept Donald under observation for two weeks and later stayed in touch with the family, which brought Donald for three follow-up visits as Kanner began identifying other children with similar symptoms, preparing what became his first article on autism.

Mr. Triplett went on to graduate from high school and study French at Millsaps College in Jackson, Miss., where he received a bachelor’s degree in 1958. He joined the Bank of Forest later that year and continued working there off and on for nearly 65 years, living with his parents and remaining in their home after they died in the 1980s. His brother, Oliver, helped look after Mr. Triplett until his death in 2020.

Mr. Triplett has no immediate survivors but leaves a large community of friends. He had assigned nicknames and even numbers to many of them, in a kind of personal inventory system that led him to refer to one fraternity brother as 569 and another acquaintance as 333.

When outsiders came calling, his friends and neighbours turned protective, as Donvan and Zucker discovered when they first arrived in Forest. “On three occasions,” they wrote, “while talking with townspeople who know Donald, we were advised, in strikingly similar language each time: ‘If what you’re doing hurts Don, I know where to find you.’ We took the point: in Forest, Donald is ‘one of us.’”

Mr. Triplett, in a screenshot from the documentary “In a Different Key,” shows his stampfilled passport to authors and filmmakers Caren Zucker and John Donvan.

Credit: "Donald Triplett, first person diagnosed with autism, dies at 89" by Harrison Smith (washingtonpost.com)

CAST

(in alphabetical order)

Rebecca Ashley Dass

Lisa

Rebecca is an actor for theatre, television, film and voiceover work. She has had the opportunity to work with many reputable companies, in equally notable productions, such as Spring Awakening and People, Places & Things (Pangdemonium); C-O-N-TA-C-T and Cat In The Hat (Singapore Repertory Theatre); HOTEL (Wild Rice), as well as The King & I, Mosaic and Together (Esplanade), just to name a few. Rebecca credits her accomplishments to her family, friends and felines for their unwavering support. Rebecca is extremely grateful and thoroughly hopes you enjoy her work.

Dwayne Lau

Bill

Dwayne graduated from The NUS Theatre Studies Program (Hon) in 2007. He currently heads the drama department at his Church and is the drama coach of St. Anthony’s Canossian.

His stage credits include Chestnuts, Broadway for Suakus (STAGES); ‘Scarecrow’ in The Wizard of Oz (I Theatre); ‘Long John Silver’ in Treasure Island; ‘Templeton’ in Charlotte’s Web; ‘Record Keeper’ in Forbidden City (Singapore Repertory Theatre); Wildrice’s Own Time Own Target, HOTEL, LACAGE Aux Folles, ‘Blue Fairy’ in Pinocchio and ‘Boxer’ and ‘Old Major’ in Animal Farm. In 2021, He premiered The Amazing Celestial Race and Momotaro as both playwright and asst. director. Last year, he starred in Sing Theatre’s Cabaret playing ‘Emcee’.

His TV Credits: ‘Host’ in Streets Made for Talking (Channel News Asia), ‘The Principle’ in What on Earth (MeWatch).

Falling is Dwayne’s first collaboration with Pangdemonium and he looks forward to working with everyone on this heartfelt show.

Lok Meng Chue

Nana

Meng Chue, 68, enjoys acting on stage and television.

Andrew Marko

Josh

Andrew is a stage and screen actor, voice-over artist and musician. He is proud and honoured to be reprising the role of ‘Joshua’, for which he won a Straits Times Life Theatre Award for Best Actor in 2017.

Andrew would like to dedicate this performance to every single person out there living with ASD, and their family and friends whose endless love and patience deserves to be recognised and respected in the highest possible manner.

You can catch Andrew next as Seymour in Sing’theatre’s Little Shop of Horrors.

Other notable theatre credits include: Into The Woods (Pangdemonium); I Love You, You’re Perfect, Now Change (Sing’theatre); Extinction Feast (The Theatre Practice); Peter Pan in Serangoon Gardens; Mama White Snake (Wild Rice); Every Brilliant Thing (Bhumi Collective); Rubber Girl Is On The Loose; Electra (Cake Theatre).

Karen Tan

Tami

Karen is a Singaporean theatre actor.

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; End of the Rainbow; People, Places & Things and Into the Woods

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. With the company, he directed Doubt: A Parable (Production of the Year and Best Director nominations at the Life Theatre Awards) and Muswell Hill. Next, he will direct Pangdemonium's production of Who's Afraid of Virginia Woolf? With the company, he’s assistant directed Into the Woods, People, Places & Things, and The Glass Menagerie, among others. He also helms the company’s Very Youthful Company and New Works Lab.

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

Deanna Jent

Playwright

Deanna Jent is a Professor of Theatre at Fontbonne University, St. Louis, where she has taught and directed shows since 1995. She has been nominated five times for the Kevin Kline “Best Director” award and won the Kline award for Best Production of 2007 for Standing on My Knees. Her play Falling won the 2012 Kevin Kline award for Best New Play.

In addition, three productions she directed (The Chosen, Going to See the Elephant and Women’s Minyan) have won the Kline award for “Best Ensemble.” Deanna has directed at professional theatres throughout St. Louis, including the New Jewish Theatre, Shakespeare Festival St. Louis Touring Company, The Orange Girls, ACT Inc., Stray Dog Theatre, and St. Louis Shakespeare. She holds a Ph.D. in Theatre from Northwestern University. She is a playwright, a former Riverfront Times theatre critic and former editor of Christianity and Theatre magazine. Deanna founded Mustard Seed Theatre in 2007.

Eucien Chia

Set Designer

Eucien has been a long-time Pangdemonium collaborator since 2011. His notable scenic designs for Pangdemonium include Into the Woods; RENT; This is What Happens to Pretty Girls; End of the Rainbow; Muswell Hill; The Father; and The Pillowman

His design work with Pangdemonium has often been recognised at the ST Life Theatre Awards, with nominations in the Best Set Design category for The Glass Menagerie, The Mother; Urinetown; Little Voice; and Spring Awakening; and receiving the Best Set Design award for Dealer’s Choice

Other Awards: ST Life Theatre Awards Best Set Design winner for The Almighty Sometimes (SRT); Company (Dream Academy); December Rains (Toy Factory).

Selected productions: for SIFA - The Commission; DisSPACEments (installation); for Esplanade Theatres - Kingdoms Apart; A Good Death; with Wild Rice - La Cage Aux Folles (2017); Boeing Boeing (2017); A $ingapore Carol; The Emperor’s New Clothes; Snow White; with Checkpoint Theatre - Normal; with Toy Factory Productions: December Rains; Shanghai Blues; Sleepless Town; with STAGES - H is for Hantu; with I-Theatre - Sing To The Dawn; The Wizard of Oz; The Arabian Nights; Fairytaleheart

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, 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.

Selected Theatre Lighting

Design Credits: The Glass Menagerie, Dragonflies & Next to Normal (Pangdemonium), Animal Farm & Merdeka (Wild 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).

Jing Ng

Sound Designer & Composer

Awarded the National Arts Council Scholarship, Jing graduated with first class honours from Rose Bruford College (U.K.) specialising in Performance Sound. Having designed for various companies and 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.

As an arts educator at NAFA since 2017, Jing has been teaching the core principles and techniques of production sound design. These modules foster future practitioners in developing a deeper understanding of sound in various artistic mediums and discovering the infinite possibilities of sonic arts.

He was nominated for Best Sound Design in the 2014 Off West End Theatre Awards, and the 2018, 2022 & 2023 Singapore Straits Times Life Theatre Awards. Jing is currently developing future iterations of his installation work - Distance Makes The Heart Fonder.

Website: www.jingngsound.com // www.soundcloud.com/jingsound

CAST (in alphabetical order)

Lisa

REBECCA ASHLEY DASS

Bill DWAYNE LAU

Nana

LOK MENG CHUE

Josh

ANDREW MARKO

Tami

KAREN TAN

CREATIVE TEAM

Director

TRACIE PANG

Assistant Director

TIMOTHY KOH

Set Designer

EUCIEN CHIA

Associate Set Designer

GRACE LIN

Lighting Designer

JAMES TAN

Sound Designer & Composer

JING NG

Associate Sound Designer

JEAN YAP

PRODUCTION & STAGE MANAGEMENT TEAM

Stage Manager

KOH YI WEI

Assistant Stage Manager

SHARLENE LIM

Assistant Stage Manager

REANN TEO

Technical Manager

IAN LEE

Props Master

DANIEL SIM

Props Assistant

SHAWNE KHO YZELMAN

Costume Coordinator

TAN JIA HUI

Dresser

JUSTINA KHOO

Sound Operator

RYAN NG

Lighting Programmer

ENQI CHEE

Lighting Apprentice

IAN PEREIRA

Production Apprentice

MELISSA HECKER

Accessible Performances Consultant

GRACE LEE-KHOO (ACCESS PATH PRODUCTIONS)

Captioning Operator

DANIEL YONG

PRODUCTION TEAM

PANGDEMONIUM TEAM

Artistic Director / Managing Director

TRACIE PANG

Artistic Director / Producer

ADRIAN PANG

General Manager

RENEE TAN

Associate Director

TIMOTHY KOH

Production Manager

LEAH SIM

Production Coordinator

TRICIA WEE

Marketing Manager

KRISTAL ZHOU

Digital Marketing Executive

RICHIE RYAN

Relationship Manager

GUINEVIERE LOW

Ticketing Manager

MICHELLE SEETOH

Accounting Manager

MARIEM TOUAHRIA

Ticketing Assistant

EUNICK MOIRA

Marketing Assistant

DYLAN LEONG

Associate Artist

JAMES TAN

FOH Manager

VANESSA MOSTAFA

PANGDEMONIUM BOARD

RAEZA IBRAHIM

JOHN CURRIE

DEBBIE ANDRADE

LEONARDO DRAGO

DR. JADE KUA

BEATRICE CHIA-RICHMOND

TRACIE PANG

ADRIAN PANG

EDUCATION AND OUTREACH

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 perform in professional productions such as Six: The Musical, Fun Home, Miss Saigon Vienna, and The Great Wall Musical. Many have furthered their training in musical theatre degree programmes both locally and abroad. Triple Threats’ auditions will be held in March 2024, and the workshop will run for two weeks in June. Watch our socials for more information!

Very Youthful Company

The Very Youthful Company (VYC) represents our youth wing, where theatre-makers aged 14 to 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. Last December, we staged Thornton Wilder’s Our Town at the Drama Centre Black Box. VYC runs from early September through late November in 2024, comprising Saturday workshops and a two-week intensive. Auditions will be held in July.

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.

New Works Lab

We launched our New Works Lab in 2022. The Lab provides playwrights with intensive dramaturgical support on a new original play. Applications for our 2024 edition have closed. The process-focused program culminated in a workshop and staged reading in August 2024. Last year, we selected Ong Chong An’s Singapore, Michigan, which will be staged at this year’s Singapore International Festival of the Arts as part of their Tomorrow and Tomorrow programme.

TECHNICAL APPRENTICESHIP

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 Production Management, Technical Management, as well as an exclusive programme in Lighting Design.

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 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 lightingspecialized 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 recognizes the significance of mentorship from 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 3 to 6 months).

Word processing and spreadsheet experience are required.

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

THANK YOU FOR BEING OUR FRIENDS!

White Knights

Anthonia Hui & Leonardo Drago

Winged Crusaders

Holywell Foundation

Jacqueline Ho, Esq

The Diana Koh Foundation

The Grace, Shua and Jacob Ballas II Charitable Trust

Crusaders

Mrs Lee Li-Ming

Priscylla Shaw

Superheroes

Desmond & May Lim

Dr Jade Kua & Marion Isabelle Teo

Harris Zaidi & Terry Tan

Paige Parker & Jim Rogers

Russell Heng

Shiv & Roopa Dewan

Shivani Manohara

Velasco, Valerie

Heroes

CK Tang & Sylvia Wong

Conrad & Andrea Lim

Dr Irene Lim & Prof David Stringer

Esther Ho

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

Kok Aun Koh

Lena Lee

Loh Soon Hui

Michelle Shek & Harry Brilliant

Mr & Mrs Clarence Tan

Rachel Low & Lim Wen Juin

Rahul Choudhuri

Ronald Gwee

SL Chan

SX Kuan

Sze Wei Goh

Valerie & Winston Cheah-Kwek

Champions

Aileen Tang

Ajit R Nayak

AK & SC

Alois Schiessl

Angela Erika Irma Soeteber

Angela Wu

Barry & YT Clarke

Brian Selby & Angelina Chang

Bx Tang

Charles Koh

Chia Yu Hsien & Linda Lim

Christina & Alvin Liew

Christopher Pang

Dharmendra Yadav

Daryl Lim

David Forrester

David Neo

Dominik von Wantoch-Rekowski

Dr Tan Eng Thye Jason

Ee Yee Ang

Emmett, Hazel, Emeric and Ethel Wong

Foo Yee Ling

Grace Chiam

Gretchen Liu

Hong Heng Leong

Hwee Suan Ong

Janice Goh

Joanne Pek

Kang Mei Ling

Kelvin & Sandy Tan

Kelvin Chan

Kevin & Dina Coppel

Kwok Junfeng

Lee Eng Hin & Saralee Turner

Matthew Flaherty

Matthew William Hunter

Max Tan & Nani Zhang

Meixuan Goh

Melanie Tan

Michele Gai Musgrave

Moon Meade

Musa Bin Fazalur Karim

Nithia Devan

Ong Pei San

Pang Siu Mei

Pierre Colignon

Ravi Sivalingam

Richard & Karen Hounsell

Robin Arnold

Ronald & Janet Stride

Ronald JJ Wong

Rumyana Lulova

Sardool Singh

Sehr & Ashnil Dixit

Seng Farn Chung

Shou Sen Cheam

Susan Sim

Suzanne Lim

Tan Poh Kiang

Tania Wee

Tee Bee Tin

Toh Wei Seng

Yap Su-Yin

Yee Pui Phing

Yvonne Soh

Yvonne Tham

Yvonne Yeoh

Pangdemaniacs

Adrian Tay

Andrew Lim

Anna Tan

Audrey Chng

Audrey Phua

Charmaine Chua

Chen Xinda

Chloe Goh

Chng Pei Ee

Daniel Loon

Desmond Ho

Dinesh Balasingam

Dr Christopher Chen

Duane Ang

Duncan Kauffman

Eugene Ang

Eugene Lee

Farid Baharuddin

Faye & Billy Kwan

Francis Chin

Gan Heng Hui

Geoffrey Baker

Gregory Tan

Heng Jian Yong Lionel

Heng Wen Xiu

Hiow Hoong Teo

Ho Kai Li

Huiyu Lin

Jennifer King

Joanna Tan

Joee Ng

Joni Koh

Jorin Ng

Khoo Swee Koon

Lance Lim

Liao Zhiyi

Lim Lay Keow

Lim Mingcheng

Lim Yinghui

Lionel Yeo & Janice Koh

Lone Lee

Lydia Ong

Marshall Wace Singapore Pte Ltd

Mathia Lee

Maurice de Vaz

Michael Henderson

Mikail Kalimuddin

Nathalie Ribette

Nikko Aw

Niko Lin

Omar Sotomayor

Pei Chin Ong

Pierce Sim

Rajesh Achanta

Rita Elaine Silver

Samuel Tan

Sandra Gwee

Sarah Mei Ismail

Seah Sai Long

Steph Chu

Steven Wong

Sui Ang

Tan Hian Hong

Tan Wei Ling

Teo Kien Boon

Theresa Nai

Tien Ong

Timothy Quah

Tinova Low

Tommy Koh

Vanessa Seah

Venetia Shio

Vidula Verma

Wang Wei-lung

Wee Cathleen

Wen Zhao Chewng

Woon Teng Koh & Alan Ng

Wynnii Lu

Yan Zhiyan

Yap Zhi Jia

Yuehan Zhuo

Yichun Ng

Ying Hui Lim

Yunita Ong

Yusri Shaggy Sapari

Zech Tan

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 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.

As our Friend, you will receive complimentary tickets, be the first to hear about our latest projects, receive 250% tax deduction on your donation, enjoy backstage tours and much more!

If you believe in the work that we do, please become our Friend today!

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

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. We welcome your 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 fundraiser@pangdemonium.com for corporate giving, sponsorship opportunities, and in-kind donations.

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

SUPPORTED BY

SEASON PATRON by SG Enable

MARKETING PARTNERS

CORPORATE DONORS

LOVINGLY FED BY

HCS ENGINEERING PTE LTD

A heartfelt thank you to all the speakers for their invaluable input during our post-show talk sessions. We are also grateful to the caregivers who have shared their stories with us.

Pangdemonium Theatre Company Ltd is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2023 to 31 March 2026.

WHO’S AFRAID OF VIRGINIA WOOLF?

BY EDWARD ALBEE

DIRECTED BY TIMOTHY KOH

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