Grand Theft Theatre is a devised theatrical performance that celebrates the long history of Singapore theatre through recreations of iconic scenes from classic plays in the canon and depictions of pivotal moments in the past sixty years, based on interviews conducted with theatre practitioners, arts industry workers, art-interested audiences, and the general public. Conceptualised as a 'birthday party' for Singapore theatre, it retells historical events, references landmark productions, and acts as a heartf
This essay accompanies our devised performance piece, PE*IS, created as part of TS3103 Theatre Lab (a core module for Theatre Studies students in NUS) and as a part of The Vault Residency with Centre 42. It serves as a critical and reflective inquiry into the thematic, conceptual, and artistic concerns that have shaped our work. This essay focuses on the why: our perspectives as artists, the insights gained throughout the entire process (which comprised a mixture of structured research and organic improvisa
Brian Ko, Chong Shen Hao, Hannah Rose Lee, Kah Seng Lian, Leoson Lee, Yi Xuan Lock
Rises and Falls2024 is a significant year for Centre 42 - it marks ten years since we first opened our doors, as well as our eighth year creating the annual Singapore Theatre Timeline, which maps the wide variety of local theatre productions that have been staged over the course of one calendar year. We've done a lot of looking back and reflecting - on the past ten years of Centre 42's programmes; on the way the Singapore Theatre and Year in Review projects have evolved; and on Singapore theatre in 2024!&nb
First presented on 14 December 2017 at 42 Waterloo Street, Year in Review is Centre 42's annual round-up of Singapore theatre. This ongoing project sees Centre 42 tracking a year's worth of local theatre productions, and sharing interesting observations, trends, and statistics from the data that we collect. Together with the local theatre community, we reflect on how the theatre scene is growing and evolving over time. As part of Centre 42's 10th Anniversary celebrations in 2024, we created a mini-exhi
From 12 - 16 March 2025, we attended our very first Bangkok International Performing Arts Meeting (BIPAM)! 2025 marked the sixth edition of BIPAM since 2016, and the overarching theme was 'Tip of an Iceberg', calling for awareness and responsibility towards our human and natural environment, and deeper understanding of the complex systems and processes involved in the arts.Â
Grand Theft Theatre is a devised theatrical performance that celebrates the long history of Singapore theatre through recreations of iconic scenes from classic plays in the canon and depictions of pivotal moments in the past sixty years, based on interviews conducted with theatre practitioners, arts industry workers, art-interested audiences, and the general public. Conceptualised as a 'birthday party' for Singapore theatre, it retells historical events, references landmark productions, and acts as a heartf
This essay accompanies our devised performance piece, PE*IS, created as part of TS3103 Theatre Lab (a core module for Theatre Studies students in NUS) and as a part of The Vault Residency with Centre 42. It serves as a critical and reflective inquiry into the thematic, conceptual, and artistic concerns that have shaped our work. This essay focuses on the why: our perspectives as artists, the insights gained throughout the entire process (which comprised a mixture of structured research and organic improvisa
Brian Ko, Chong Shen Hao, Hannah Rose Lee, Kah Seng Lian, Leoson Lee, Yi Xuan Lock
As part of our continuing efforts to document Singapore theatre, and ensure that practitioners, educators, and other stakeholders have resources to learn about the history of the theatre ecosystem, Centre 42 has commissioned an article about a major event that took place in 2024 - Singapore Repertory Theatre changing their name to Singapore Theatre Company. This article provides a timeline of key events, and more information regarding the context in which these events took place.
From June to October 2024, Centre 42 ran our Creation Residency, Privacy Settings – An Original Musical by Myle Yan Tay and Nathaniel Mah. The residency officially ended on 14 October 2024 with a final read of an updated draft at The Theatre Practice Studio. On 13 November, we spoke with Nat and Yan about their experience throughout the entire process, their learning points and reflections, and what's next for them and for Privacy Settings.Â
From February to November 2024, Euginia Tan participated in Centre 42's second Archival Residency, We Colour People - Archived by Euginia Tan. Upon its conclusion, she reflects on the residency process, what she accomplished, and her post-residency goals.
Rises and Falls2024 is a significant year for Centre 42 - it marks ten years since we first opened our doors, as well as our eighth year creating the annual Singapore Theatre Timeline, which maps the wide variety of local theatre productions that have been staged over the course of one calendar year. We've done a lot of looking back and reflecting - on the past ten years of Centre 42's programmes; on the way the Singapore Theatre and Year in Review projects have evolved; and on Singapore theatre in 2024!&nb
First presented on 14 December 2017 at 42 Waterloo Street, Year in Review is Centre 42's annual round-up of Singapore theatre. This ongoing project sees Centre 42 tracking a year's worth of local theatre productions, and sharing interesting observations, trends, and statistics from the data that we collect. Together with the local theatre community, we reflect on how the theatre scene is growing and evolving over time. As part of Centre 42's 10th Anniversary celebrations in 2024, we created a mini-exhi
From 23rd to 27th June 2024, two representatives from Centre 42 - General Manager Yanling and Documentation Executive Adelyn (that’s me!) - travelled to Hong Kong for the 34th Conference of the International Association of Libraries, Museums, Archives and Documentation Centres of the Performing Arts (SIBMAS), hosted by the Hong Kong chapter of the International Association of Theatre Critics (IATC HK).Â