As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre

    So when the British Secret Service asks him to become their ‘man in Havana’ he can’t afford to say no. There’s just one problem…he doesn’t know anything! To avoid suspicion, he begins to recruit nonexistent sub-agents, concocting a series of intricate fictions. But Wormold soon discovers that his stories are closer to the truth than he could have ever imagined… In Clive Francis’ adaptation, Graham Greene’s classic satirical novel becomes a wonderfully funny and fast-moving romp.

    Its lyrical scenes still etch a portrait of Cyrano as a man of uncompromising bravery except in matters of the heart. They come off beautifully in the intimate off-Broadway-size Roundabout Theater. To the open minded, Langella's work will hardly seem felonious and it may be a breakthrough!" --David Patrick Stearns, U S A Today"Frank Langella has abridged the text and given the play a bare-bones production shorn of extravagance. CYRANO is compelling enough in its characterizations, dialogue and situations to withstand minimalism." --Frank Scheck, Hollywood Reporter"Frank Langella's adaptation is relatively short, fast and intimate. The speed of the shortened version allows the ideas behind the play to emerge with great force and clarity. The result is a terrifically enjoyable and surprising thought-provoking piece of theater." --Fintan O'Toole, Daily News, New York

    In the electrifying months leading up to the watershed 2011 General Elections and in the tumultuous months after, playwright Alfian Sa’at interviewed Singaporeans to discover their responses to the elections.Covering a wide social and political spectrum, the candid interviews capture the GE experience through the voices of individual Singaporeans — from election candidates to pro-establishment civil servants; from taxi-drivers to teachers; from diehard opposition supporters to young people casting their virgin votes.These interviews — some hopeful, some fearful, some hilariously frank, some achingly honest — form a portrait of Singaporeans confronting the real meaning of democracy and rediscovering their role in shaping the country’s future.

    The poems deal with the impossibility of such an endeavor and celebrate our persistence in striving anyway.At its core, the collection is built around a very wise line from a Beatles song: I want to hold your hand. I want to hold your hand with no further expectations. I want to hold your hand instead of telling you I understand when I don’t. I want to hold your hand although we don’t always get along. I want to hold your hand despite the calluses, scratches, and scars that get in the way. I want to hold your hand knowing I’ll have to let it go one day.I just want to hold your hand.

    You play the part of Emily's friend to whom she confides the story of her life and gradually exposes the secrets of her mind.The play is a journey through human consciousness, and through time. As Emily tells you about her life, we are introduced to a host of striking characters. We see sharp vignettes of a period in Singapore which is no longer familiar. And when we have heard her story, we ask: Who is Emily? Is she a nurturer or a destroyer, a domestic tyrant or a frightened child? Is she a traditional Asian wife, or Singapore's first truly liberated lady? Can we really understand her? Does she understand herself?The play leaves us fascinated. It enlarges our experience of life.Since its award-winning appearance in 1985, Emily of Emerald Hill has become an icon of the English-language theatre in Singapore and Malaysia. Many different actresses have played the role, and it has been seen by more people than any other locally-written play.

    Or so it seems.Whether you're a tourist or a charlatan, a bum or a dreamer, a poet or a lover, life will somehow find a way to kick you in the butt.But how hard? You're about to find out.THE RESIDENT TOURIST is an ongoing autobiographical comic book narrative that began in 2007.

    Since that fateful day, he has been diving in the sea every week in search for her.Compelled and inspired to share his story, I Want To Go Home is a journey from Singapore to Onagawa through the lens of the intrigued to meet him. Of unlikely friendships across borders and languages; to share a man’s loss, recovery and determination to reunite with his wife.The novel's feature film (also titled I Want To Go Home) has also been selected for the 2017 부산국제영화제 Busan International Film Festival (BIFF). This book also includes a Japanese translation by Miki Hawkinson.

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    Test on a small area first – especially if you are in possession of a broken (or breaking) heart and see your bartender immediately if side effects persist.

    Theatre script, playbook

    Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    A mysterious lighthouse in Marine Parade calls you home. A missing monkey in Changi recalls your carefree childhood. A red plastic bag in Nee Soon tells you who you truly are.We invite you to read our stories, reminisce, and return once again, back home.