“Like an elaborate art installation, the play introduced a gamut of random characters and vivid visual images… Each such dream-like sequence came complete with beautifully costumed characters that made no real sense but became immediately riveting…” The Straits Times Life!
“I’ve often wondered with plays like these whether your ticket should not get you into two or more performances, because a single performance is never enough to appreciate the richness of the offering.” The Flying Inkpot Theatre Review
Once, a man and a woman laid their baby down to sleep
Then they walked quietly away.
A few steps…stop. A few more…drop.
The baby lay there sleeping.
When the baby awoke, he was sixty years old.
His hair was white
His eyes had turned yellow
And when he opened his mouth, a gecko crawled out…
Animal Vegetable Mineral is a theatrical performance about a man who turns 30 and decides he must leave his mother, father, brothers, sisters, dog, snake, spiritual advisor, best friend, lover, maid and god… for a little while.
As a parting gift, he sings them a song.
This offbeat, comic-surreal play employs found text, movement, music, singing and sound to create a no-holds-barred theatrical experience. The actors transform into various characters, jump space and time, go through spiritual cleansing, climb mountains and walk across deserts …all for the sake of one little man in pursuit of his dreams.
A little man goes a long way.
“The production was beautifully kooky, a cross between Goth glamour and kabuki couture." The Straits Times
“…there’s a monolithic, all-encompassing intensity to Queen Ping, looming and disturbing, frustrating to comprehend on a rational level, yet ultimately rewarding in its story of breaking away from filial institutions to live one’s own life. I didn’t know what to make of it at first- I was simply overwhelmed by the bizarreness of the scenarios and jarred by the apparent randomness of the disparate segments…
…a feast for the eyes, the mind and the imagination that consistently engages with the audience on a personal, heartfelt level, it’s important that the company stays true to the style that made it unique among the multiplying theatre businesses of the city. I’m impressed by Queen Ping as a work of excess - ambitious in its legendary scope, its stylization, its stars and its heightened emotions...
But in retrospect I’m struck by the logic behind this weirdness, and the deeper implications in terms of dramatic language: Cake Theatre is producing a new way of communicating a story.” The Flying Inkpot
In collaboration with Esplanade – Theatres on the Bay
In the bloodthirsty game of human ping-pong, only one can emerge victorious. The loser faces certain death. The queen bee sits on her throne. Watching with such intensity. She slips and slides. Watching. Watching. Her head turning on an axis, the bristles on her back erect, her sting so ready it’s aching. Then…all…of…a…sudden…the a…g…o…n…i…s…i…n…g cry of defeat.
And it’s all over.
The time has arrived.
The world has stopped for one person.
And the bitch begins to feast.
Queen Ping is about how power, identity, control and sexuality play out in the lives of four people whose paths connect and collide in present day reality and in the realm of dreams and fantasy.
Queen Ping is set to be a deliciously dark, wickedly funny, totally irreverent piece of work.
“A distinctive, eclectic blend of MTV kitsch and Dada-esque surrealism.” The Straits Times Life!
“Hennedige has established herself as a director with a very distinct style and I look forward to her next production.” Lianhe Zhaobao
“Mad version of Antigone is cheekily good.” TODAY
ANTIGONE doesn’t like the new ruler. She doesn’t like the way he runs the city. She doesn’t like the rules he’s making. She thinks he’s a corrupt, evil monster. So, she’s gonna take things into her own hands and she ain’t gonna back down!!!
AUNTY waits for her husband to pick her up at the bus interchange. One hour later, he calls to say he’s not coming. She starts to walk. As she walks she reflects upon her life of servitude to her pig of a husband and bum of a daughter. She decides to diss them and take back her life!!!
MARGUERITE was born in 1655 in France. When she came out a little ‘odd’, her awful parents gave her to be raised as an orphan. Everywhere Marguerite went, stupid people turned and stared. But she snapped her fingers and kept strutting!!!
CHEEK is a contemporary interpretation of Antigone. In this rebirth, triplets are conceived- let’s just say Aunty and Marguerite are distant relatives of Antigone…and the same blood runs through their veins. This bold re-make takes a look at the original text, written by Sophocles 2500 years ago, and turns it inside out, flips it about and shakes it all around.
Fusing popular culture, found and original text, CHEEK is set to be a refreshingly original whirlwind of a show.
Personal beliefs clash with the powers above and what a big bloody mess that can be!!!
“There were kooky moments galore in this breezy play, which crackled with humour that was both slapstick and caustic...Ultimately, Divine Soap is a cheeky tribute not only to a traditional genre, but also to the nature of the performing itself..” The Straits Times Life!
“…some of the most subversive and powerful theatre I have seen…
Cake's eclectic blend of language, music and dance delivers sharp visceral shocks that probe the mind and unsettle the soul...
Cake is well on their way to being a theatrical tour de force” The Flying Inkpot
Commissioned by the National Museum of Singapore, Divine Soap is a brand new show by Cake Theatrical Productions that takes a comically crazy look at the once-comatose artform known as Bangsawan. This original play will tell stories from the past with a generous dash of humour from the present.
A young handsome king meets a beautiful mysterious young woman. They instantly fall in love. However, she agrees to marry him only if he asks no questions about her history. After much merry-making, they have a child. When he is pressed by ‘society’, he has no choice but to question her. Snap. Double snap. And she’s gone.
Divine Soap presents the story of a Bangsawan, as it was told in the past. It also sheds light on the trials and tribulations faced by these troupes as they struggle to hang on to their traditions while keeping with the times.
With a buffet of elaborate costumes, ‘special efx’, painted 2-D backdrops, stock and comic characters, dance, music and fight sequences, there’s plenty to savour and delight in.
Get clean. Get cleansed. Soap has never been so divine.
“What a deceptively modest title this spectacular multi-faceted play has. Nothing is about love and death. A lot could have gone wrong in such potentially hackneyed territory, but little did in this punchy, dynamic work with a bold DIY aesthetic....
With its kitsch-on-speed aesthetic and the gravity of its themes, Nothing provides no simple answers, but it pulls off a brilliantly crafted journey....”
Something out of Nothing: An ace script and brilliant cast tackled issues of love and death. Nothing takes the cake." The Straits Times Life
“Four Stars.” TODAY
“Natalie Hennedige’s inventive treatment of death is touched by an unwavering liveliness…this glorious theatrical experiment sparkles not only with clear, distinctive ideas of love and death, but also in the way it conveys these ideas....
At its best, Nothing burrows deep into the human psyche to explore our reactions of death...
One of Cake's most admirable qualities is that while its productions may verge on abstraction, they are also wildly entertaining. Part of Cake's massive appeal is its bold, unnatural staging...
Hennedige has shown tremendous skill and courage in refining her artistic direction, trimming away the excess without betraying her artistic ideals. The effect is stunning." The Flying Inkpot
In collaboration with Esplanade – Theatres on the Bay
See the laundry in the machine. It goes round and round. See your reflection in the glass you are a great sad clown. Hello Mister. Hello Miss. Where are you off to now? May I join you on your way into the great abyss? I won’t say a single word or get in your way I’ll just be a companion. Grey. It will be a grand noting day. Say yes. Say.
Nothing is an intimate observation of love and death. Various characters, some obscure, some mundane, some elusive, in various situations under various circumstances connect, collide and inch forward, moment to moment, beat by beat. Someone lives. Someone dies. Someone laughs. Someone cries. Nothing else.
“Poetic Love”, The Straits Times Life!
“There’s so much to hear, see and feel in this gorgeous, vitally intelligent performance that you will leave the theatre moved and enthralled...
I was completely enveloped by the world of the poems: my senses were invigorated, my mind stimulated, and my heart enraged…
In fact, she retains all the energy and boldness of her previous work, turning in a gorgeous, vitally intelligent performance of poetry on stage. In reminding us that the play can go places inaccessible to other art forms, Hennedige's novel interpretation is an essential testament to the abiding relevance – and necessity – of theatre." The Flying Inkpot
y grec is a book of poems by Madeleine Lee and Eleanor Wong. It comprises two voices, each with a different take on the same scenes, sounds, sights, people and myths of Greece.
In a new offering by Cake Theatrical Productions and commissioned by Singapore Writers Festival 2007, y grec is presented as a performance of literature, weaving together poetry, installation and sound architecture to unfold an invigorating new way of encountering spoken literature.
This was one of many electrifying scenes in Cake Theatrical Productions' avant-garde epic Temple, which fashions a concourse of disturbed relationships and shattered fantasies out of richly symbolic stage pictures, enhanced by surrealistic soundscapes and multimedia narratives. At her best, playwright and director Natalie Hennedige strips man of logic, knowledge and other foundations of being to reveal his oldest, most intractable fears and darkest impulses...
Hennedige's aesthetic force is tethered not to logical storylines but to overarching ideas, and it is these that lend her work the credibility and coherence that a single narrative arc might achieve...
Rather than tugging earnestly at your heartstrings, Hennedige insists on getting under your skin. The result is a play whose images and implications are likely to stay in your head for a long time." The Flying Inkpot
Commissoned by Singapore Arts Festival
Temple sees the invention of a mythological universe where all the quarters of the world are at odds. A sports hall, once the diplomatic meeting arena of the now opposing sides, stands desolate.
7 people, assailed, stand at the entrance of the great hall. Quickly, they enter and bolt the doors. Some nights they hear pounding on the doors but they keep very still and do nothing. Within the inner sanctum, they create their own rules, find their own order. They wait.
One day, they awake to find the doors of the hall wide open. All swear innocence. In this singular act of betrayal, a metamorphic shift occurs. Bright lights illuminate, the blast of marching bands and the scream of cheerleaders invade stark silence. The grounds of the hall turn monstrously into a sporting battle field as the people devise elaborate war schemes against each other.
This multilayered experience infuses physical composition, visual style and sound architecture, in an exploration of the various notions of Temple.
"Even when she aims for a cleaner, more stripped-down aesthetic, director Natalie Hennedige, known for her fiery and flamboyant work, proves to be a master of artful design and careful placement, achieving maximum visual impact nonetheless. The simplest things – a fish-tank, a woman lying on a table – result in stunning stage pictures that rival anything you find in the best glossy magazines or coffee-table books. " The Flyink Inpot
In collaboration with Esplanade – Theatres on the Bay
The elusive Flower continues to speak with a voice quiet and persistent. Like a ghost gently moving her voice never ceasing.
Destinies of Flowers in the Mirror is the story of one pilgrim bearing the burden of her belief, venturing boldly onward to claim her destiny.
"The play was tight, well-timed and consistent...But while the play's skeleton possessed economy and grace, in performance these qualities were disguised under layers of convulsing meat...Yet there was a depth to the piece – the kind of depth folktales have: echoing and unilluminated...It shocks, disturbs and amuses, never letting up till the very end." The Flying Inkpot
The Goat Head was an artist. His most famous work, a magnificent blueprint of a utopian city.
One day as the Goat Head and his expectant wife appear to address the public, a gunshot is fired and the dictator is assassinated. Dissidents stage coup and gain control of the country. A massive hunt is launched for all goats.
All goats are wanted.
All goats are hunted.
After a time of purging, the dust finally settles.
Several years later two prisoners,
Munsee and Boo wait behind bars.
Then word comes. The most wanted Goat has surfaced. The Goat from the expectant belly. The feared successor. The hunt resumes. The Goat could be anyone, teacher astronaut, deep-sea diver, doctor. The Goat could be anything - fat, man, hairy, woman.
When a blueprint resembling the Goat Head’s Utopia is found in their prison cell, all eyes turn. Could one of them be the Goat? Munsee, a university student imprisoned for participating in a demonstration or Boo a construction worker for assaulting his supervisor. The interrogation begins.
Munsee or Boo? Which clown is the culprit?
The Comedy of the Tragic Goats is a tale of two clowns who dance and play to fend disaster away.
Man: This breath. See? Can you see it? This breath. Stop. [Tries to hold his breath] But it escapes. Willful breath. You are my master. I am your slave.
The man is restless. One minute he is in a barren wasteland, the next he is in a public toilet in the city, the next he’s sitting on a rock with a book, the next he’s dragging body bags across endless dust. The man is restless. He wants to disappear. There is also a fisherman and woman of great disrepute. They live and interact with the man. They know not why he’s come nor where he’s going. They don’t care. They are tired and weary. Stretched thin, almost disappearing. The man, the fisherman and the woman of great disrepute, they are altogether strange, altogether sad. Hopefully they’ll disappear. But it’s never so easy.
Invisibility/Breathing is a theatrical response to Quah Sy Ren’s Invisibility, examining the hope and futility of restless people in a restless world.
The art of living in the in-between is a collaborative art project featuring installation, film, performance, workshops and gigs that uncover the inspirations and fantasies that have catalyzed 5 years of works by Cake.
Over 5 days, a shophouse is transformed into a hotbed of images, words, sound, strange movement, magnetic encounters and unexpected happenings sometimes way into the night! Wander through the rooms, each flowing and ebbing with exquisite strangeness or come especially for the performance that’ll put the ultra in ‘ultra Cake mix’ or get revitalized in a workshop or hang loose and fancy free at a gig or just come for it all and get a super Cake fix! Cake turns 5 and this art experiment is all about celebrating a journey, stirring up new possibilities and capturing moments in the realm of the in-between.
Coming of age, life and death, monsters in the making, animal lust, divine longings, wilderness wandering, mother superior, sons and daughters, the power of two, slipping and sliding and facing the light. Here’s the plan. 10 captivating characters from 5 years of Cake productions connect and collide in a whole new theatrical work. Drawing text and inspiration from all previous works, the characters live and learn, twist and turn, strive and thrive in a wild, new, dramatic concoction.
" There were exhilarating moments where the rock music clashed beautifully with the existential angst. Together with the disco lighting by Suven Chan, they provided the requisite climaxes in a rock musical" (The Straits Times Life! 18 April 2011)
In collaboration with Esplanade – Theatres on the Bay
Desire works at the checkout counter of a supermarket. Day in and out she scans and beeps, trapped in total, utter dead-end boredom. In her imagination she is free, living many glorious lives as lover, heroine, rebel, rogue. In reality, she scans and beeps, scans and beeps in retail hell.
Desire at the Melancholic String Concert is an exploration of freedom beyond the unbending lines of power and oppression. Breaking free from tepid, gutless existence into wild unpredictability and heroic adventure. Pairing the dazzling duo Siti Khalijah and Rizman Putra and featuring the ultra-cool indie-rock band Tiramisu and the dynamic Philip Tan, this checkout girl is ready to meet the big bad crazy world!
Helmed by Brian Gothong Tan, the first experiment in the Decimal Points series is 4.44. Intertwining performance art and cinema, and devised and performed by Jo Kukathas, Lim Kay Siu, Neo Swee Lin and Karen Tan, the existence of 4 individuals is pushed into hyper real levels through a series of live and filmic vignettes, blurring the lines of illusion and reality.
Inspired by a range of television and film genres, and live performance styles, Decimal Points 4.44 sets life against a backdrop of dying ideals.
Three of Singapore's most exciting creative talents, hailing from different backgrounds and writers themselves, will curate and direct Singapore literary content in three nights of dramatised readings in Utter from 17 June to 19 June 2011.
Held at Drama Centre Black Box at the National Library, this pre-festival event to the Singapore Writers Festival will see Natalie Hennedige (Nothing, Cuckoo Birds) from theatre, Ken Kwek (Kidnapper, It's A Great, Great World) from film and Lee Thean-jeen (The Pupil, Singapore Short Story Project) from television present their distinctive interpretations of how words by fellow Singaporean writers can be performed.
Each of them brings experience from their respective line of work into Utter and provides a diverse sensory experience. Watch as Natalie weaves poetry into short stories in celebration of the diversity, honesty and power in Singaporean writing, as Ken Kwek employs cinematic conventions of time fragmentation to introduce chaos into the neat parallel-running lines of text on paper while Lee Thean-jeen turns the reading upon the reader and adds filmed footage for a new dimension to themes and topics explored.
Thirteen Ways of Looking and Other Observations utters naked truths and offers poignant and tender observations of life from the perspective of Singaporean writers. It weaves poems written by Yong Shu Hoong, Madeleine Lee, Ng Yi-Sheng, Cyril Wong, Alfian bin Sa’at, Toh Hsien Min, Alvin Pang and Felix Cheong into Alfian bin Sa’at’s short story Thirteen Ways of Looking at a Hanging.
Conceived and directed by David Lee, the second experiment in the Decimal Points series is 0.01, a quest for perfection that eludes. A tiny piece in a puzzle that seems forever missing. A small voice that echoes all is lost, all is lost.
Colliding dance, performance and drawing deep inspiration from conceptual world of visual design, 0.01 seeks to create an illusionary world, at once tragic and fantastic, where the inhabitants reach for pure, unadulterated liberation in the face of suffocation and monstrous oppression.
Decimal Points 7.7 searches for perfection in the imperfection, transforming extraordinatry from the very ordinary, creating and defining the moment from passing phases, while adding character into what is otherwise oblivious – changing the way we look at our daily living and then, to embrace life once again to these musical sonorities
Si Ti Kay are nonsense sounds that express a deep feeling from deeper within.
In and out, up and down, through pathways of purity and corruption, anger and calm, Si Ti Kay tries to make sense of a mother’s undying love and care for her children dying in the hands of a nonsensical war. It’s about anger. It’s about war. It’s about mother. It’s about finding hope in spite of Si Ti Kay.
Conceptualised and directed by Noor Effendy Ibrahim, this new creation sees Effendy explore themes and artistic impulses inherent in his enduring body of works.
In the beginning, god created despair, for man to find hope within. I know I have heard someone say this somewhere before sometime back, but I’m not too sure who, when and where. It must have been god herself who had said this through some men. I mean, who else could be that smart to tease men into such futility other than god herself. So there you have it. And here I find myself being teased into my own despair, holding on to too much faith, knowing that hope for me lies deep within. Gingerly, I slide a finger in, resting, probing. Somehow sensing the despair within feels warmer, softer, safer, I slide in another finger, followed by my thumb. But reason suddenly makes me pull both fingers out almost instantaneously, reason that too often leads to greater despair. I am confused. My thumb is still inside.
Noor Effendy Ibrahim
"Flare's cacophony of images and sounds is certainly vivid, as you'd expect from a partnership between two of the most aesthetically imaginative and adventurous theatre companies in Singapore." The Flying Inkpot
Tremors from an earthquake in a neighbouring land reverberate through the lies of various families. Their once peaceful lives are shaken and the people feel deep unease. In the mornings, they awake with hearts trembling, wondering when their nerves will settle.
Their once secure homes now witness the appearance of mysterious cracks in the walls and dubious visitors of the equine-kind.
They must quickly distract and inspire themselves before they waste away with anxiety. They make plans to visit exotic destinations, renovate their homes, purchase the latest electronic products and take on outdoor hobbies.
A middle aged woman stands firmly within a shiny capsule, surveys the re-constructive work beneath her feet and chants fervently, “The future is a great place to be. The future is a great place to be.”
Inspired by Peter Shaffer’s psychological drama Equus, Flare is a narrative kaleidoscope exploring desperation and escape.
Written by Chong Tze Chien and directed by Natalie Hennedige, this collaboration between The Finger Players and Cake Theatrical Productions is an original dramatic work that draws from each company’s signature visuals and potent storytelling devices.
"This "Edna and Julie" thread provided Hennedige with a vehicle for the kind of dialogue she writes best - dialogue where, underneath a skin of banal prose, a pustular rash of poetry is always threatening to erupt." The Flying Inkpot
“A powerful and gripping play highlighting the violence around us, Cuckoo Birds was brought to life by a stellar cast...
Successfully mixing together many different sketches, characters, as well as elements both absurd and serious, Cuckoo Birds was a remarkably well-written performance, that succeeded in being a thought-provoking and entertaining look at how violence exists in our society, and the search to find peace, despite it all.”
First performed in Kuala Lumpur in 2009 as part of leading Malaysian arts collective Five Arts Centre’s 25th Anniversary Celebrations, Cuckoo Birds is a kaleidoscopic collision of personal and collective stories, connected and disconnected characters, real and imagined events all played out within a plastic container, sealed for extra protection! Boldly encountering things violent, random and absurd, Cuckoo Birds is a contemporary theatrical experiment exploring the search for serenity in our often mad and brutal modern world.
Marking an exciting collaboration with Cake Theatrical Productions and Five Arts Centre, Cuckoo Birds fuses the artistic vocabularies and philosophies of both companies, in a celebration of artistic energies that defies borders.
"What seems to hold all of these together is its energy...5.1‘s got enough technicolour bombast to keep me from switching channels." TODAY
5.1 refers to the six channel surround sound multichannel audio system - the most commonly used layout in both commercial cinemas and home theatres. It is also about the search of self in a densely populated space, a space with a population that is reaching the 5.1 million mark.
Decimal Points 5.1 is a wordless movement based performance, incorporating radio frequency motion sensors, neo futuristic costumes and unconventional live vocal experimentation, colliding techno toys with raw human physicality.
Living is complicated in the complex techno world and as the self diminishes, the soul is finding its exit. 5.1 is a search for that balance between the soul and the cold, the dense and the sparse, the new and the old, the foreign and the native, the logical and the illogical.
This is a time for rebirth.
"It is a powerful in-your-face work of creation that deconstructs creation itself, a psychedelic valentine to the theatre... Within the dramatic structure of a play itself, Illogic scrutinises both the conscious and the subconscious levels of theatre-making with an arsenal of Hennedige's trademark - the visceral physicality, loud design elements and carefully constructed abstraction." The Straits Times Life!
Someone said the universe must not be narrowed down to the limit of our understanding.
Two actors move across a desert-like terrain.
Encounters between them gradually bring forth a dramatic landscape capturing at once, a dream like state and the reality of their humanity.
A theatre performance in two acts, Illogic asks questions it can’t answer and sets a path it won’t follow.
Two actors. One moving terrain. Giving way to Illogic.
"If Cake Theatrical Productions were a number, it would be pi. It is a number both irrational and transcendental, and the randomness of its digits never end. This is especially true of Decimal Points: First Station, an experiential and experimental quintet of installation and performance works scattered across the various floors and rooms of The Substation.
... First Station is a celebration of trials and errors, of the paths less taken on the stage. And it has produced a bumper crop of daring experiments and collaborations that otherwise may never come into being. You may not always get the piece of pie you expect, but somehow, Cake's bold flavours always tickle the palate." The Straits Times Life!
Presented by Cake Theatrical Productions in partnership with The Substation and curated by Natalie Hennedige, Decimal Points is a series of art experiments that fuel artistic creation through process and exploration. Over the course of two years (2011 — 2012), four artistic experiments are made, each helmed by an individual artist — Brian Gothong Tan, David Lee, Philip Tan and Rizman Putra. Each artist is encouraged to create from a personal place, finding entry points via the varying disciplines of film, dance, visual art, sound and performance art. In the third year, all four artists bring forth a new work inspired and enriched by a two-year span of research, exploration and creation.
Brian Gothong Tan
Karen Tan & Jo Kukuthas in the house
A timer tells them when to start
and when to stop
being everything in-between
after forty minutes the time is up
Thank you Cinema
Thank you Facebook
Thank you YouTube
Thank you Guidebooks
for all the information
that we can take
Classrooms 1 & 2
Sean Tobin & Edith Podesta in the house
separated by a wall
warps the act of listening
by a dead child
no longer speak
the surreal turn
their lives have taken
In Search of Sunshine in the Folds of a Clutter
Rizman Putra in the house
Zul Mahmod in the house
charge and rage
charge and rage
gadgets and gizmos in the house
in search of
See You Real Soon
David Lee in the house
In a room actually
for a duration
long duration actually
hoping to meet you
to have a chat in thirty minutes
and make an art work in thirty minutes
you pass him something that belongs to you
a conversation ensues
In thirty minutes
a gift exchange
art in exchange
for a personal exchange
Level 1 washroom
You are in the house
so to speak
don’t be alarmed
it's just an experience
with shooting lights and sounds
to put the wow wee
in a private
Decimal Points: First Station is an immersive art event that rallies together the first four creators of Cake’s Decimal Points series to create a whole new artistic experience. It covers the grounds of The Substation and celebrates unadulterated, unconventional and unexpected possibility in performance.
A singular Art Performance
over two years
countless trials and errors
Copyright of Cake Theatrical Productions
"It was startling to see how these emerging actors had become conduits for a previous generation of performers (many of whom are long gone) who had blazed a trail for them. It was almost as if the iconic figures of Teo and Sergeant were in the room with us. And how apt to be in the Substation, a space that was set in motion by yet another late theatre pioneer, Kuo Pao Kun.
Having worked as a producer and programmer with many of these theatre figures, Neo seems to have become a bridge between old and new, and perhaps even living and dead, seeing how his life once hung in the balance.
One emerges from 810 with the unshakeable belief that mortality is something that binds us all - young or old; dead or alive; past, present or future." The Straits Times Life!, 28 April 2014
"From the poetic first moment you hear the pained strains of Jeff Buckley’s version of Hallelujah and the sombre, measured processional act of the performers pouring a white liquid (milk?) on the shoulders of three fellow performers (naked?), you feel it’s something special.
... and it’s got a whole lotta “feeling” going for it that one can’t help but be drawn to the tender ache of its heartfelt sincerity. One that gently floats, buoyed by a bit of humour and lots of love. Death or the thought of it may surround Decimal Points 810 but at its core is Life itself." TODAYonline, 26 April 2014
Before going under, a man is told that patients hallucinate during surgery. He wakes up thirteen and a half hours later and cannot remember a single thing.
Decimal Points 810 is one man's hallucination of a hallucination that never took place. What was going on during the eight hundred and ten minutes of his existence that was lost in oblivion? Where does the mind go when the body lies there in inertia? Where does the mind go during eight hundred and ten minutes of unconsciousness?
Decimal Points 810 is a performance that meditates on the lost time before a man wakes up after surgery.
"As a lights guru, we could very well assume that one of his strengths is a heightened awareness of the stage as a space filled by things. A living chessboard as it were. And it was quite evident here how conscious he was about everyone and everything’s spatial relation to everyone and everything else — from the performers to the way his lights delineate areas to the set and props ..." TODAYonline, 18 October 2014
Clusters of galaxies emerge from the darkness, and ambivalent figures are born. Seemingly unconnected, these figures operate in isolation. Yet the simultaneity of their gestures, actions and thoughts seems connected by an overarching force. Images and movement create a world that the viewer must complete; an invitation to generate thoughts about a topic that has never ceased to fascinate – Love.
A complex emotion, a perpetual obsession, a force of nature and a subject that can never be dictated.
Decimal Points 0 is a collaboration between a pole dancer, a sport climber, a visual artist, a theatre performer and theatre designers. Through this mix of disciplines, this project explores the yearning for love in our contemporary times.
No words heard written spoken can fix what is broken but
damn if we don’t try try try harder faster to be stronger better
than our yesterday selves so all eyes ears fists fingers we delve
into territory unknown how time has flown now we are standing
scared in the sacred soul-searching whilst naked wondering
wandering about this machine is there a place any space to pin
If a body seeks a home, it must either find or build one. Decimal Points [infinity] is a journey into an amusement park of disorder and wonder, beginning as always with the human thirst for understanding and propelling itself right into the jagged terrain where chaos meets comprehension.
Singapore International Festival of Arts 2015 Commission
Born from the desire to chart humanity’s passage from beginning to present state, Versus is a ferocious performance about our existence amidst all the wars we wage.
This allegorical journey takes place through the most contentious zones of conflict we know – the world’s innumerable battlefields, the volatile intersections of faith, the deep trenches of the heart – spinning it all like some renegade turntable, ricocheting from flesh domain to spirit state, meshing personal psalm and public rave, capering over gaping wounds in the soul’s landscape.
If it is written / set in stone / marrow in bone
can Despot Mother Patriot Child / carve out a home
while an Angel sees / the rise fall rise fall of a People
raging blood pulsing flesh
/ reaching for something beyond the beyond
all comprehension / suspended
With their distinct blend of stirring music, composite stage imagery and searing text, Cake continues to construct clarity from the overwhelmingly irrational. The result is a work rooted in history while urgently reaching into the now.
Cake’s studio undergoes a complete strip down, making way for a 124ft X 21ft cavern for art. Running with Strippers features artists and their creations, spilling across genres from performance to performance art, installation to performance installation and music; each segment adding up to three nights of alternative artistic encounters brought to you by artists across disciplines bent on designing original work with a spirit of experimentation and exposing varying degrees of nakedness, metaphorical or otherwise.
A seedbed of artistic exploration and expression, transmitting ideas that offer audiences alternative experiences and ways of looking at art and performance making, Running with Strippers carves out an event in Cake’s actual workspace, flipping these daily quarters into an overnight venue of artistic possibility, defined only by the limits of the walls that make up a long rectangular room. Be our guest.
By Rizman Putra
The Good, Bad, Ugly //
Conceived & Directed by Andy Lim
Dramaturgy by Ho Tzu Nyen
Performed by Dinslife, Ian Tan, Pat Toh, Zhuo Zihao
Sound Mix by Hafiz
Video Mix by Jun
"Veritable marvels from Malaysia (and familiar faces in our local theatre scene), Jo Kukathas and Thomas Pang were completely arresting: The former, who played the older Ophelia, was almost childlike in her sheer, wonderful abandon, while young Pang as Hamlet was always in razor-edge control of everything from his gravitas-laden voice to the angle of each finger, and whether he was executing a waltz, fighting invisible opponents or staggering around following his father’s ghost (portrayed rather effectively by an upside-down mop).
In Ophelia, Hamlet is an auteur, guiding his actor Ophelia to be the best version she could be. With her straight-talking and eyelash-fluttering kookiness, Kukathas’ gloriously counter-intuitive Ophelia was a fun foil to her haunted, controlling prince, who wants a beautiful-but-helpless feminine ideal that will be suitably impressed by his own epic emotions." TODAY, 21.03.2016
In collaboration with Esplanade – Theatres on the Bay
She captures the imagination with her madness, her drowning. A tragic character set eternally in a pool of water, eyes dead, and full of secrets. So little is known about Ophelia. What does she tell us beyond the limits she faced in her short life?
Inspired by Shakespeare’s character, this work delves into the workings of a mind, intricate and complex, encompassing too the landscape of a soul inextricably linked to that of a prominent other, Hamlet.
Beyond the politics of sex and gender and the cycles of oppression that pervade history, Ophelia reflects too on the grey areas of our humanity; the deep-seated desires, motives and actions that account for the tragedies that keep the human race in a constant state of drowning.
After Ophelia, Electra becomes the second creation in Cake’s series of classical re-imaginings where tragic figures are given a striking awakening on Cake’s contemporary stage.
Electra is an immense character borne of tradition and myth, the lady of perpetual lamentation, the embodiment of personal and public grief. This mother of a tragedy centers on Electra, a daughter who ceaselessly and undividedly grieves for her slaughtered father. The perpetrators of the murder are Electra’s own mother and her mother’s new lover, her father’s once fierce political rival. Electra commits herself to a life of endless mourning and lamentation that manifests itself in damning words that lend her voice potency. She sticks to her stubborn grief in spite of the admonishment and incarceration that comes her way. She forfeits her freedom by refusing to be silenced so that none can forget the injustice done, and singlehandedly secures a cloud of suspicion over the all-powerful corrupt duo that now rule her father’s city. Electra is an archaic tale with present day resonance.
In Cake’s signature wild theatrical abandon, this Electra receives a fresh, spirited re-make. Edith Podesta takes on the full-blooded title role with an ensemble playing multiple parts on a set that turns the condemned House of Atreus into a minimalist block of climbing grids to produce a kinetic, effervescent playing arena while the flames of fiery grief burn.