Written by STELLA KON | Directed by GLEN GOEI | Starring IVAN HENG From 4 – 28 SEPTEMBER 2019 Venue The Ngee Ann Kongsi Theatre @ Wild Rice,Funan SYNOPSIS MESSAGE FROM FOUNDING ARTISTIC DIRECTOR Ivan Heng is one of Singapore’s most acclaimed Words can hardly describe what I felt when I first encountered Emily in 1999. To have my life reflected back at me, validating my actors. Glen Goei is one of Singapore’s most place in the world, was electrifying and affirming. It strengthened celebrated directors. Together, they bring to life my conviction that a people’s stories need to be told. one of Singapore theatre’s most iconic characters: Slipping on Emily’s kebaya and kasut manek again reminds me why Singapore theatre matters. Through the shared experience Emily Gan, an abandoned girl who overcomes all of theatre, we begin to understand who we are and how we came to be. This quintessentially Singaporean story doesn’t just odds to emerge as the matriarch of a distinguished celebrate Peranakan culture – it reveals universal truths about Peranakan household. what it means to be human in a rapidly modernising world. 20 years ago, I said I would be playing this role every 10 years; Evoking the golden age of Straits-Chinese culture from the 1930s, I could not have foreseen that I would be reprising this role to this new production promises to be the most immersive version of inaugurate WILD RICE’s own theatre. It is our hope this play may Stella Kon’s enduring classic yet. Step into our theatre and become find its fullest expression yet in the more intimate space of The one of Emily’s guests in her opulent, meticulously kept mansion... Ngee Ann Kongsi Theatre, where the audience and the performer can be more keenly connected. In this decadent world, fulfilment for a woman can only be found in her roles as a daughter-in-law, wife, mother and home-maker. So When we were designing WILD RICE @ Funan, we set out to create what must she do to succeed? And at what cost? Is Emily a woman optimum conditions for an audience to experience a theatre trapped by tradition, or a feminist ahead of her time? performance, as well as a space that would empower artists to In 2000, Ivan Heng founded WILD RICE with an electrifying develop their best work. We are deeply grateful to everyone who production of this landmark play, in which he first made Emily Gan has contributed to the building of this performing arts complex. his own. We can think of nothing more appropriate to commemorate In particular, I would like to thank The Ngee Ann Kongsi, our WILD RICE’s new home. Founding Patrons and our Angels. Thank you, Stella, for creating one of Singapore theatre’s most compelling characters, in an enduring classic that will continue IMDA Rating: General to entertain and enlighten future generations. Thank you, Glen, Singapore Sign Language (SgSL) Performance: Sat 14 Sep, 7.30pm for helming this landmark production, and for challenging and Captioned Performance: Sat 21 Sep, 2.30pm inspiring me through the years. Audio-Described Performance: Sun 22 Sep, 2.30pm (touch tour will begin at 1.30pm) A theatre is a place for a community to gather and listen to stories. Thank you for being part of this community and for commemorating this milestone with us. On behalf of Tony and all at WILD RICE, we thank you for your support and hope you enjoy the show! IVAN HENG MESSAGE FROM MESSAGE FROM PLAYWRIGHT DIRECTOR

I have seen many actors play Emily It’s no exaggeration to say that Emily of Emerald Hill – and they are all different! This is changed my life. the wonder of theatre – each actor brings his or her own personality and 35 years ago, I had returned to Singapore for the experience to the same script to create summer before my final year at Cambridge University, a unique performance; and even the and I still had no idea what I was going to do after same person’s performance can change graduating. But the answer hit me with remarkable and evolve over the years, as the actor clarity as I watched Max Le Blond’s sublime production grows in experience and maturity. of Stella Kon’s now classic play, starring the inimitable Margaret Chan. Emily Gan helped me realise that I 20 years ago, Ivan Heng’s charismatic wanted to translate my passion for the theatre into a personality and theatre skills gave us life and career in the arts. That same night, I resolved an outstanding Emily, which thrilled to enrol in drama school in London. audiences then. With the passage of time, Ivan has scaled ever greater professional 15 years down the road, Emily found me again. On heights – and now, ably abetted by Glen a return visit from London, where I was living and Goei, he is creating a new Emily for a working as a director, I watched, spellbound, as Emily new era. I am excited and eager to see came to life before me – this time as a result of the Ivan’s Bicentennial Emily! electrifying collaboration between Ivan Heng and the late, great director, Krishen Jit. This production I take this opportunity to offer WILD made the play come alive with new possibilities. And RICE a thousand congratulations on it helped me decide that it was time for me to return to the opening of its new theatre. I wish Singapore for good. them every success, and look forward to seeing the lasting impact this In 2011, when WILD RICE staged the play at the new performance space will have on Esplanade Theatre (which seats 1,950 people!), I finally Singapore theatre! had the opportunity to claim Emily for myself. It was a privilege to fill that epic space with Emily’s story – STELLA KON which, of course, so closely mirrors the story of my own Peranakan heritage and family. Today, it is my greatest privilege to meet my old friend, Emily, again. I truly believe that this incredibly intimate production is how Emily of Emerald Hill is meant to greet audiences – as if they were guests in her own living room. My most profound gratitude goes out to everyone – on stage and off – who has helped me bring Emily home to WILD RICE’s new theatre in Funan. GLEN GOEI EMILY OF EMERALD HILL THROUGH THE YEARS

35 YEARS AGO, EMILY GAN WAS BORN. JOIN US IN HER OPULENT MANSION ON EMERALD HILL AS WE TRACE THE LIFE AND TIMES OF STELLA KON’S PLAY – A CLASSIC THAT HAS BEEN PERFORMED ALL OVER THE WORLD, AND HAS EVEN LAUNCHED A THEATRE COMPANY RIGHT HERE IN SINGAPORE...

Emily of Emerald Hill 2000 at Jubilee Hall, Raffles Hotel BIRTH OF AN ICON Emily of Emerald Hill took the top prize most-performed English-language play. in Singapore’s National Playwriting Outside of Singapore and , it has For playwright Stella Competition in 1983, and remains been performed in Sydney, Melbourne, Kon, Emerald Hill was relevant today, because it touches so Adelaide, Perth, Auckland, New York, home. Stella’s parents insightfully on universal themes. Hamburg, Munich, Hawaii, , were both born there. Through the multitude of roles assumed , Beijing and the UK. The In the 1950s, Stella spent by Emily over the course of her life – play has also been broadcast over Radio some of her formative as daughter and mother, hostess and Iceland, and translated into Mandarin, years growing up in socialite, wife and widow – the play Japanese, French and Kannada. Oberon, her family home sensitively explores the concepts of situated along Emerald womanhood, identity and society. EMILY GOES WILD! Hill Road. EMILY TAKES ON In 1999, Emily of Emerald Hill was It’s no wonder, then, reinvented for the new millennium. that Emily of Emerald A LIFE OF HER OWN In this collaboration with Dramalab in Hill is particularly close Emily of Emerald Hill received its world Kuala Lumpur, renowned Malaysian to Stella’s heart. The premiere at the Five Arts Centre in KL director Krishen Jit took the reins of a one-woman play is a in 1984, with acclaimed Malaysian actor bold new production that starred Heng masterful blend of fact Leow Puay Tin taking the lead. Since – who remains the only male actor to and fiction, charting the then, the title role has been played by have played this role. history and traditions a host of actors from Singapore and Together, they produced a groundbreaking of Singapore’s Peranakan Malaysia – including Margaret Chan, adaptation of Emily of Emerald Hill that community through the life Ivan Heng, Neo Swee Lin, Pearlly Chua, underscored the play’s gender politics of Emily Gan – a formidable Karen Tan, Jalyn Han and more. with wit and irony. At the same time, nyonya matriarch based the production paid tribute to the on Stella’s own grandmother. Over the years, Emily of Emerald Hill has Emily of Emerald Hill 1999 become Singapore’s best-known and traditional art form of Wayang Peranakan in Kuala Lumpur HAIL THE INSPIRATRIX NYONYA DAWN MARIE LEE, EDITOR OF THE PERANAKAN MAGAZINE, MUSES ABOUT THE MODERN NYONYA AND THE WOMEN OF EMILY’S TIME.

– or Peranakan theatre Who would Nyonya – which featured casts Emily Gan be if she lived comprising exclusively in our time? Given her men, as it was considered resilience, acerbic wit socially inappropriate and compulsive streak for women to perform on for success, I think she stage until the 1960s. might rule the roost as the chairwoman of a This iconic gender-bending family business, make production of Emily of Emerald Hill has in the Esplanade, which seats 1,950. her mark on Singapore’s since gone on to win great acclaim all over This year, Emily of Emerald Hill skyline as a property the world. Heng has played the role over tycoon, or even dazzle as a a hundred times in Singapore, Adelaide, inaugurates WILD RICE’s own performing arts complex in Funan: a prominent politician. In the 1960s, Nyonya Daisy Chan sang on radio, TV and Melbourne, Montreal, Hong Kong and regularly performed at parties and charity events. Kuala Lumpur. brand-new arts venue designed, built, Emily was born almost 100 years ago (Photo courtesy of Nyonya Irene Chew.) programmed and led by artists. This in the early 20th century, during the you are a wife and mother”. But the cultural significance of this thrilling new production is at once a golden age of the , when production goes beyond the thousands celebration of Singapore’s rich theatre Emerald Hill was known for sprawling Emily exhorts, “So be the very devil of audience members who have watched history, and a promise of what is yet mansions instead of trendy bars and of a wife and mother! Do everything it over the years. With its Singapore to come. restaurants. for them… so that they cannot lift one premiere at Raffles Hotel’s Jubilee Hall finger to help themselves… They must all in 2000, Heng founded WILD RICE – Like many girls of her era, she was depend on you, so that you control them which has become Singapore’s leading a child bride, married off at 14, then and hold them in the palm of your hand!” professional theatre company dedicated thrust into a domestic setting fraught to empowering future generations of with tension. Nyonyas at the time were Peranakans of Emily’s time were a artists and audiences by telling stories expected to be docile homemakers who paradox. Even though they embraced of and about Singapore. obeyed their fathers, husbands and sons. Western ideas, rituals and pastimes, they were bound by folk beliefs, Over the past two decades, Emily Gan In Emily’s time, being a woman was superstitions and taboos, more so if one has remained closely affiliated with a handicap. “Before my breasts were was a woman. WILD RICE’s growth and success. grown, I learnt that a woman is nothing For WILD RICE’s 10th anniversary, in a world men made.” That famous line A young nyonya today would baulk co-artistic director Glen Goei reimagined tells us that, in Peranakan society back if told that all she can aspire to be is a the play for Singapore’s largest theatre then, women had “no value, except if homemaker. And yet, although gender from one or two trailblazing Bravely, Kim Choo set up her makeshift to support us.” nyonyas such as Dr Lee Choo stall under a buah ceri tree at the corner The play, staged in aid of the Red Cross Neo, Singapore’s first female of Joo Chiat Place and Everitt Road. Crippled Children’s Home Fund was doctor, and Dr Maggie Undeterred by her critics, she sold her a huge success. The initial two-night Lim, the first girl to win dumplings, rain or shine. It was from run on 29 and 30 May 1958 at the Happy the prestigious Queen’s these humble beginnings that she World Stadium was sold out and it was Scholarship, stories of our built a successful business and raised staged again on 27 June. nyonya foremothers have five children. (One of her sons died in gone largely untold. childhood, causing her much anguish.) Just like Emily’s story of survival and heartbreak, these stories of inspiratrix As the editor of a magazine Nyonya Daisy Chan Chye Neo was – women who inspire – remind us to be devoted to Peranakan born in 1928 and grew up in Kampong brave, no matter what life throws at us. culture, it has been my privilege to Amber. She came from a traditional Nyonya Daisy Chan (standing) on stage in Kerhidopan Se Buta uncover the tales of ordinary Peranakan Baba family, but was not afraid to (1958), scolding her sister played by Francis Hogan (kneeling). It is said that the hand that rocks the Daisy was the first woman to act in a Peranakan play. women. From Emily’s era, here are two pursue her passion for singing and was (Photo courtesy of Nyonya Irene Chew.) cradle rules the world. So, while our stories of real-life, Singapore nyonyas very keen on acting. history books are filled with great men who were ahead of their time. roles have changed over the last century, In the 1950s, it was considered improper and their great feats, our foremothers’ legacy of resilience, fortitude and the modern nyonya is still faced with the Nyonya Lee Kim Choo was born in 1933 for nyonyas to take to the stage. All the ingenuity lives on in our hearts. similar pressures of home life, in addition to a wealthy family. At her birth, an female roles in wayang Peranakan were to juggling a career. astrologer told her father that she would played by men like Baba Willam Tan, Georgie Lee and Francis Hogan. While she is no longer expected to bring him great misfortune because their stars clashed. She was given away pound the rempah and put a nightly hot This did not deter Daisy, who joined the to her maternal grandmother. dinner on the table, she is still largely Singapore Peranakan Dramatic Party, held responsible for the daily life and After the war, in the late 1940s, Kim Choo an amateur theatre group. She was One of Nyonya Lee Kim Choo’s favourite education of her children, even though studio portraits of herself, 1950s. fell in love with a coffee-shop assistant – already married with children when (Photo courtesy of Baba Edmond Wong.) she too, brings home the babi (pork). greatly angering her grandmother, who she got involved in Peranakan theatre. When her husband helps out, it is a had hoped for a wealthy suitor for her. Her big break came in 1958 when she bonus and not a duty because his career It was scandalous for a young nyonya to was asked to take on the starring role comes first. choose her spouse. The couple married of a blind girl in Kerhidopan Se Buta in 1950 when Kim Choo was 17 years old. Heaven help her if her husband was (A Blind Girl’s Fate), a play written by Her husband’s meagre income could not raised by a domestic goddess like Emily. Francis Hogan. Back then, even the feed them, so the resourceful nyonya Babas are among the harshest critics Gunong Sayang Association was a made a bold decision to set up her own of Peranakan cuisine for it will never strictly all-male group. match up to their mother’s cooking! business selling kueh chang babi (pork and glutinous rice dumplings). Daisy was the firstnyonya to take on a major role in a wayang Peranakan. A DISCOVERING In 1950s Singapore, it was almost newspaper clipping from 1958 states, unheard of for a decent young woman OUR FOREMOTHERS “For the first time in a baba Chinese to run her own business; what more play, a feminine role will be acted by a The stories we hear about great a nyonya, who was supposed to be a woman…” Daisy was quoted in the same Peranakans of the past are mostly of men genteel, homebound wife. Some even article saying, “It is hard for Straits – powerful businessmen, community considered it shameful for a married Chinese women to come forward to act, leaders and philanthropists. Apart nyonya to go out and earn a living. but I hope that more will come forward CAST

IVAN HENG as Emily Gan GLEN GOEI Director

Ivan Heng is one of Singapore’s most prominent and dynamic Glen’s substantial body of work encompasses a wide range creative personalities. In a pioneering career spanning three of the performing arts, including theatre, film, parades and decades, Ivan has directed, acted in and designed many world expos. Highlights include his Olivier Award-nominated landmark Singapore theatre productions, which have been performance in the title role of M. Butterfly opposite Anthony performed in more than 20 cities around the world. Hopkins in London’s West End; and his critically acclaimed feature films, Forever Fever and The Blue Mansion. Glen has also Ivan founded WILD RICE in 2000. Under his leadership, the made significant contributions to Singapore’s theatre scene. company has reached out to an audience of more than a million Since 2002, Glen has served as the Co-Artistic Director of WILD people, and is today at the vanguard of creating theatre with a RICE, for which he has directed hits such as Supervision, La distinctive Singaporean voice. Cage Aux Folles, HOTEL, Public Enemy, The Importance of Being In 2013, Ivan was awarded the Cultural Medallion, Singapore’s Earnest, The House of Bernarda Alba, Cook a Pot of Curry, Emily highest cultural honour. He has a law degree from the of Emerald Hill, Family Outing, Blithe Spirit, The Magic Fundoshi, National University of Singapore, and trained at the Royal Aladdin and Boeing Boeing. Conservatoire of (RSAMD).

CREATIVE TEAM WONG CHEE WAI Set Designer Chee Wai is a full-time freelance set designer. He has designed and worked with various performing arts companies in STELLA KON Playwright Singapore. Some of his recent works include WILD RICE’s Stella has written plays, novels and short stories infused with HOTEL, Monkey Goes West, Public Enemy and The House of questions about Singapore’s national identity. In 1977 and Bernarda Alba; as well as The Necessary Stage’s Those Who 1982, she won the Ministry of Culture’s National Playwriting Can’t, Teach and Sight Lines Productions’ Lord of the Flies. Competition, and won it again in 1983 with Emily of Emerald Hill. From 2006 to 2019, Stella was the Chairperson of Musical Theatre Ltd. She has written five musicals with composer Desmond Moey. Their latest collaboration, Lim Boon Keng the LIM WOAN WEN Lighting Designer Musical, will be presented by Musical Theatre Ltd at Victoria A graduate from the National University of Singapore’s Theatre Theatre in October 2019. Studies programme, Woan Wen received the inaugural National Arts Council Arts Professional Scholarship in 2001 Stella’s parents were both born on Emerald Hill Road, and trained at The Hong Kong Academy for Performing Arts Singapore’s old Peranakan heartland. Her ancestors include in stage lighting design. She has won multiple Best Lighting Singapore pioneers Tan Tock Seng and Lim Boon Keng. Design awards at The Straits Times Life! Theatre Awards and Stella has two sons and six grandchildren. She has a BA in was conferred the Young Artist Award in 2011 by the National Philosophy from the University of Singapore in Malaya (1966) Arts Council. Woan Wen divides her time between freelance and an MA in Creative Writing from Nanyang Technological projects and working with The Finger Players as their associate University (2016). lighting designer, while also creating work as one-third of the design collective, INDEX. BRIAN GOTHONG TAN Multimedia Designer LAI CHAN Costume Designer Best known for his cutting-edge and highly engaging works Lai Chan is a fashion designer who designs costumes for in theatre, film and installation art, Brian has collaborated the theatre as well. Some of the shows he has designed for on numerous theatrical productions with companies like include Emily of Emerald Hill, Animal Farm, Boeing Boeing, WILD RICE, The Necessary Stage and Pangdemonium. Since Spring Awakening, Fried Rice Paradise and Romeo & Juliet. His eponymous boutique is located at Paragon Shopping Centre, 2005, he has won Best Multimedia Design at the Straits Times Singapore. Life! Theatre Awards four times. He has worked on films like Pleasure Factory (Un Certain Regard, Cannes 2007), Lucky 7, Invisible Children, In the Room and Ramen Teh. Brian was also FREDERICK LEE Costume Designer the Director of Film and Visual Effects for Singapore’s National Frederick’s fashion-as-performance-art theatricality has Day Parade (2009, 2011, 2016), the 2010 Youth Olympic Games made him one of Singapore’s most sought-after designers. Opening and Closing Ceremonies, and the 2015 SEA Games. Apart from Frederick Bridal, his own couture boutique, he He was awarded the Young Artist Award in 2012 and the has designed costumes for the National Day Parade as well as Singapore Youth Award in 2015. the 2010 Youth Olympics Games in Singapore. To support his friends in the theatre, Frederick has designed costumes for the likes of WILD RICE’s La Cage Aux Folles and The Importance of Being Earnest, Dream Academy’s Dim Sum Dollies and The Sound Designer PAUL SEARLES Theatre Practice’s If There’re Seasons. He has won two Straits Paul is a composer and sound designer from The Gunnery, one Times Life! Theatre Awards for Best Costume Design. of South-East Asia’s finest music houses. He has composed music and designed sound for many WILD RICE productions, ASHLEY LIM Hair Designer/Stylist including HOTEL and Romeo & Juliet. He studied architecture Ashley started his hairstyling career in 1986 and set up Ashley and composition in , and has earned a Gold Record Salon in 1999 to further pursue his dedication towards the art with his band, Skunkhour. He is also an award-winning of hairdressing, especially for the theatre. He has worked on screenwriter. Paul recently composed a Bernard Herrmann- over 300 productions locally and abroad, and is privileged to be inspired score for Glen Goei’s Revenge of the Pontianak and will widely recognised by the local theatre community as a veteran soon be releasing a solo album under the name Kazr. in his artistry. Recent credits include WILD RICE’s A $ingapore Carol, HOTEL and La Cage Aux Folles; Michael Chiang’s Army Daze 2; Pangdemonium’s Fun Home; The Theatre Practice’s Liao Zhai Rocks! and Dream Academy’s Broadway Beng: Last Beng RAYMOND WONG Costume Designer Standing. He recently took home the Lifetime Achievement Award for Theatre, presented by Mediacorp. Raymond is one of Kim Choo Kueh Chang Pte Ltd’s third- generation business owners. To promote and safeguard their THE MAKE UP ROOM Make-Up Designer heritage, his family maintains a boutique shop – Rumah Kim Bobbie Ng and Low Jyue Huey of The Make Up Room have Choo – that showcases the richness of their Peranakan roots. As been passionately involved in designing make-up for local Rumah Kim Choo’s Fashion and Boutique Director, Raymond theatre productions for the past 18 years. Recent credits specialises in making sarong kebayas and Peranakan beaded include WILD RICE’s A $ingapore Carol, La Cage Aux Folles and shoes. To date, his works have been showcased all over the HOTEL; Dream Academy’s Broadway Beng; SRT’s Forbidden City world, including Malaysia, Indonesia, Taiwan, Japan, China, and various shows at Singapore International Festival of Arts America and the . He has also collaborated 2019. Outside of the theatre, their make-up artistry expands to with and provided costumes to Dance Ensemble Singapore, as blissful brides on their wedding days. The Make Up Room has part of his passion to explore creating innovative textile works also created an academy to share skills and knowledge with for the performing arts industry. women who want to look good and aspiring make-up artists who are keen to learn the art form.

CREDITS ACKNOWLEDGEMENTS

ARCHANGEL

CAST

Ivan Heng

CREATIVE TEAM CORPORATE SPONSOR OFFICIAL CARD PARTNERS OFFICIAL MAKE UP

Playwright: Stella Kon Director: Glen Goei Set Designer: Wong Chee Wai Lighting Designer: Lim Woan Wen Sound Designer: Paul Searles Costume Designers: Raymond (kebaya) OFFICIAL CATERER OFFICIAL PRINTER OFFICIAL PRIVILEGE CARD MARKETING PARTNER Lai Chan (cheongsam & gown) Frederick (winter ensemble) Multimedia Designer: Brian Gothong Tan Hair Designer/Stylist: Ashley Lim Make-Up Designer: The Make Up Room Peranakan Consultant: Richard Tan WITH SUPPORT FROM

PRODUCTION TEAM

Production Manager: Melissa Teoh Technical Manager: David Sagaya Production Co-ordinators: Phua Yun Yun & Augustina Ongah Stage Manager: Justina Khoo Assistant Stage Manager: Victoria Anna Wong Stage Assistant: Nurliana Haron Wardrobe Manager: Theresa Chan WILD RICE LTD IS SUPPORTED BY THE NATIONAL ARTS COUNCIL UNDER THE MAJOR COMPANY SCHEME Dresser: Lim Zhi Ying FOR THE PERIOD FROM 1 APRIL 2019 to 31 MARCH 2022. Props Mistress: Joyce Gan Technicians: Ahmad Hafriz Bin Berkath, Mariam Arshad Abdullah, Muhammad Azhar Bin Azman, THANK YOU! Muhammed Muzzamier Bin Abu Bakar & Tan Yi Kai Mr Heng’s Physiotherapist: Bodyworks Studio ALBERT LIM / DARREN NG / HUNTINGTON COMMUNICATIONS/ KIM CHOO KUEH CHANG PTE LTD Sign-Language Interpreter: Evelyn Chye MZA PRODUCTIONS / RAJA MALEK / THE DODDLE PEOPLE / TRIPPLE Audio Describers: Seren Chen & Roger Jenkins WILLIAM @ NYONYA HERITAGE MALACCA / WILD RICE ANGELS / VOLUNTEERS & USHERS Production Interns: Angela Ee, Irfan Nurhadi Bin Nasruddin & Michelle Wiradinata COMMUNITY PROGRAMME DONORS MORRISON & FOERSTER LLP / PASAR GLAMOUR ABOUT WILD RICE WE NEED YOUR HELP WILD RICE was founded in 2000 by Ivan Heng, an internationally acclaimed At WILD RICE, we believe that theatre needs to be shared and supported by as and award-winning theatre practitioner, and is recognised today as one of many people as possible. We strive to keep our ticket prices affordable and our productions diverse. Our education programme inspires more than 10,000 Singapore’s leading professional theatre companies. students every year and there’s always something exciting happening in this new home for Singapore theatre. Its mission is to provide an open forum for the shared experience But, to sustain a performing arts complex on this scale, we need your help. of theatre: celebrating our diversity, reflecting on the problems and While many people know WILD RICE to be one of Singapore’s leading theatre possibilities of our times, and presenting productions that inspire, companies, not many know it is also a registered charity. Every year, we must challenge and entertain. raise $3.5 million to produce great theatre, while delivering impactful learning initiatives and wide-reaching community programmes. A commitment to the highest standards informs every aspect of WILD If you enjoyed the show today, if you share our passion for brave and brilliant RICE’s creative work, which is first and foremost a celebration of Singapore’s productions that tell uniquely Singaporean stories, if you believe that theatre at theatrical talent. By producing and touring productions that are distinctively its best can transform lives, then please support us. local in flavour and yet universal in vision and concerns, the company creates memorable experiences for audiences in Singapore and across the world.

The company’s exciting and varied The company’s mission to build a theatre WAYS TO CONTRIBUTE: programming for the main stage culture also extends to the wider community includes: through the following divisions: + New and original works; + First Stage, a project that nurtures young + New productions of the Singapore repertoire talents from the ages of 5 to 12 + New interpretations of world classics. + Young & Wild, which identifies and develops Singapore’s young theatre professionals.

WILD RICE is committed to touring its shows internationally to raise the profile of Singapore theatre, to create an international awareness of its BE AN ANGEL PLANT A SEAT MAKE A DONATION unique productions, and to engage its artists and collaborators in creative For as little as $350, you can Treat yourself or a loved one by The charitable donations dialogues with the international arts community. Its distinctively Singaporean get closer to the drama with putting a name – or two – on a we receive from enthusiastic productions have won great acclaim in major international arts festivals in complimentary tickets, special seat in our iconic auditorium. audience members, like you, Australia, Canada, Hong Kong, Macau, Malaysia, New Zealand and Russia. discounts, priority booking, From $1,000 for 10 years. provide the lifeline for exclusive events and the best our work. seats in the house. WILD RICE @ Funan is the company’s new home in the heart of Singapore’s civic and cultural district. This groundbreaking performing arts complex promises to be an iconic destination theatre for Singapore – one dedicated to Your support, whatever the amount, will make a dramatic difference. creating and presenting the best of Singapore theatre, while nurturing the Visit www.wildrice.com.sg us for more information. artists and audiences of tomorrow. IVAN HENG PRODUCTION Founding Artistic Director WILD KOH BEE BEE RICE TONY TRICKETT Associate Producer Executive Director MELISSA TEOH TEAM ARTISTIC Production Manager PHUA YUN YUN GLEN GOEI Production Co-ordinator BOARD OF Co-Artistic Director AUGUSTINA ONGAH DIRECTORS ALFIAN SA’AT Production Co-ordinator Resident Playwright / Co-Artistic Tan Siok Sun Chair Director, Singapore Theatre Festival MICHELLE WIRADINATA Janice Koh Vice Chair Production Intern Bill Ang YOUTH & EDUCATION Deborah Barker DEVELOPMENT THOMAS LIM Randy Chan Associate Artistic Director, GEMMA BYRNE Chan Ying Lock Youth & Education Head, Business Development Glen Goei Anthonia Hui EDITH PODESTA TERESA FU Simone Lourey Associate Artistic Director, Business Development Manager Tony Trickett Young & Wild FATIN ROSSIDA EZZAT ALKAFF Development Executive Youth & Education Manager DEVELOPMENT ADMINISTRATION BOARD ANDREA EE Administrator, Young & Wild KATHERINE KHOO Janice Koh Chair Head, Administration Holman Chin MARKETING & Corporate Services Harris Zaidi COMMUNICATIONS JASMINE LIM Anthonia Hui ASH LIM Finance Executive Ken Khoo Head, Marketing Communications Kitch Lum ROSS TOH Tan Siok Sun LINDA TAN Administration Executive Jimmy Yim Marketing Manager VENUE ELSY NG Marketing Executive KOH WEE GIAP Venue Manager SHAWNE WANG FRASER SUITES SINGAPORE • FRASER PLACE ROBERTSON WALK, SINGAPORE FRASER RESIDENCE SINGAPORE • FRASER RESIDENCE ORCHARD, SINGAPORE • CAPRI BY FRASER, CHANGI CITY Writer MUHAMMAD FADLY BIN NANYAN Central Reservations (Singapore): +65 62 700 800 Email: [email protected] MEGAN BARKER Assistant Venue Manager Video Content Creator DAVID SAGAYA Technical Manager

MUHAMMAD AZHAR BIN AZMAN Technician

AHMAD HAFRIZ BIN BERKATH Technician Mrs Gan, the kueh kueh you ordered for your party is ready for collection. Written by ALFIAN SA’AT & NEO HAI BIN Directed by GLEN GOEI & JO KUKATHAS Starring CHONG WOON YONG, REBEKAH SANGEETHA DORAI, Book by THOMAS LIM | Lyrics by JOEL TAN | Music by JULIAN WONG | Directed by IVAN HENG BRENDON FERNANDEZ, GHAFIR AKBAR, Starring PAM OEI, SITI KHALIJAH ZAINAL, BENJAMIN CHOW, MAE ELLIESSA, DWAYNE LAU, UMI KALTHUM ISMAIL & ZEE WONG ANDREW MARKO & THE FIRST STAGE KIDS From 10 OCTOBER 2019 From 21 NOVEMBER 2019 www.wildrice.com.sg