FAT PIG

presents

FAT PIG 13 FEBRUARY - 2 MARCH 2014 DBS ARTS CENTRE

presents

FAT PIG by

Neil LaBute Directed by

Tracie Pang

Frances Lee

Gavin Yap

Set Design by

Eucien Chia

with

Zachary Ibrahim

Lighting Design by

James Tan

Elizabeth Lazan Sound Design by

Guo Ning Ru

13 February – 2 March 2014 DBS Arts Centre

K N I O O

K! !

K N OI

Yo mama is so fat, she has more chins than a Chinese phonebook.

A version of this “joke” was told in Rabbit Hole, our first production from last year. Didn’t get many laughs.

Understandable. Besides, there are more Tans than Chins in the phonebook. But “yo mama is so fat she has more Tans than a Chinese phonebook” is even less funny.

After our tough 2013 Survival Season, we figured we’d “lighten up” a little. So moving into our 2014 Misfits Season we’re kicking off with Fat Pig - funny, sweet, romantic, and also nasty, dirty and disturbing. If you were expecting a soft and cuddly feel-good comedy – fat chance. With its provocative button-pushing and exposure of society’s obsessions, prejudices and hypocrisies, Fat Pig is the antithesis of the feel-good comedy. It’s more a feel-bad comedy. Says Theatre Mania: “Fat Pig is outrageously funny, but it makes you feel guilty for laughing.” This is not so much a rom-com, but more accurately - and shamelessly - a wrong-com. And we love it for being so.

The New York Post declares: “Fat Pig balances black humour and social commentary in a beautifully written, hilarious dissection of how societal pressures affect relationships. Astute and up-to-the-minute relevant.”

We couldn’t agree more. One of the scourges of modern urban living is the relentless, poisonous media barrage of images and ideas of physical “perfection”. And in a particularly fat-ist state like Singapore, we all know and dread the annual family reunion where we have to field very loud observations from Auntie Betty, to the tune of: “Wah! Haven’t seen you for so long! You’ve put on so much weight!”…So we know that many people will relate to Fat Pig in a big (yes, pun unapologetically intended) way.

And if you’re expecting some sort of “moral” or “message” at the end of this story – uh-uh, you’re not gonna get spoon-fed by us, we have too much respect for you. As the Australian Stage proclaimed: “Fat Pig will stay with you and leave you with more questions than answers.” Exactly what those questions are will say a lot about you.

Many thanks to Frances, Gavin, Liz and Zachary, absolutely heroic in taking on the four complex characters in Fat Pig. Our deepest gratitude to the terrific production team, stage management team and creative team for their hard work, especially over the Lunar New Year period, while fielding observations from Auntie Betty. To our Production Sponsors, Official Supporters, and Friends of Pangdemonium, we are sooo grateful to you for helping us continue doing what we do. And as always, lots of love to the brilliant Pangdemonium family.

And THANK YOU, dear audience member, for your support of our work. If you are a Pangdemonium 2014 Season Ticket holder, THANK YOU, and WELL DONE - what a clever investment you’ve made! We’re very gratified for your faith in us. And for those who have yet to commit to Pangdemonium’s upcoming shows in our Misfits Season: The Rise & Fall of Little Voice - Pangdemonium’s first production set in Singapore (gasp! shock!) - is a musical comedy about a Little Miss Misfit with a BIG secret; while Frozen is not a stage version of the recent Disney movie, but is instead an intimate and intricate psychological thriller about a misfit of the monstrous, murderous kind. Now, go get your tickets.

Finally, allow us to share a little gem with you: A lovely friend of ours, Michelle (her real name) recently posted this on Facebook: My daughter overheard me praying and exclaimed: “Mommy, I didn’t know you wanted to be more thin...

Every night I pray for you to become fatter because I like your hugs and cuddles. I pray that you will become like a giant teddy bear, so cuddly, warm and soft!!!”…

Now we know whom Jesus listens to more.... No wonder I’m so fat!!! Nabeh!

We think you’re gorgeous, Michelle. And, Auntie Betty, get a life.

Big love,

THE WEIGHT OF THE WORLD

By Neil LaBute, playwright of Fat Pig

It was easy enough to lose, I suppose. The weight, I mean. One day I simply decided it was time, and I went about the process with a tenacity and diligence unheard-of for me. My journey was a singular pursuit that was spurred on by mundane reasons: I didn’t feel so hot. I looked like shit. I was tired of wearing the same pants. So I did something about it.

I set up a rather specific regimen for myself and got down to the task at hand by using this simple mantra: “Stop eating so damn much, you fat bastard.” Sounds pretty basic and not very scientific, but it was at the heart of my program. Alter a few basic ingredients and the recipe was bound to change, right? If I stopped gobbling down so much food, started exercising a little, and gave it some time, my body would have no choice but to follow. I didn’t read the Atkins book or consult anyone in the medical profession; I simply decided to go for it. And I did just that – I dropped sixty pounds over the course of the next eight months and could see a marked difference in my attitude, body, and overall demeanor. I was happy, healthy, and in good spirits. Or so I thought.

I also discovered the preening fool who was living just beneath the surface of my usual self. Suddenly, the mirror became my friend. How I loved to rush home from a walk or jump up in the morning and study myself, checking to see if I looked thinner. The day-to-day changes were imperceptible, of course, but that didn’t stop me from slowing at every reflection or feeling my waistline or secretly patting my own ass to see if it was growing tighter or not. Who was this person? Not me, or at least it never had been me before this. But now here I was, stopping in at Banana Republic to try on new sweaters and secretly hoping I could drop one more waist size, just for fun. This low-carb, heavy work-out cycle was becoming as addictive to me as food had ever been, and I didn’t see an end in sight. I also noticed that I was writing less and less.

The end, of course, came in the same way it does for so many people. Six months later I’ve gained back forty pounds, and I don’t see that trend stopping anytime soon. You see, I’m a stress eater. When things get bad or even slightly tricky, I reach for a bag of chips and hunker down. My mother taught me this selfmedication trick years ago, and I’ve stood by it for a long time now. When in doubt, eat some Pringles. A few personal and professional mishaps led me straight back to the pantry and right off the beaten path. I can’t remember the last time I exercised. And I’m back wearing those same pants again, thank you very much for asking. Oh yeah, and I’ve also written several more plays.

One of them with the jaunty title of Fat Pig. I’m not saying that creativity is entirely linked to personal unhappiness, but I remember reading with awe and respect the stories about Engene O’Neill crying behind closed doors and clawing at his own face as he composed Long Day’s Journey Into Night. Nothing of the sort happened here, of course, but you can definitely hear the crunch and crackle of snack food being consumed during some of my best work.

As Fat Pig headed to New York for its premiere, it prompted a certain amount of introspection. I see a lot of myself in Fat Pig; the story deals with human weakness and the difficulty many people face when trying to stand up for, live up to, or come out for something they believe in.

And that’s pretty much me in a nutshell – well-meaning as can be, but surprisingly lame when push comes to shove. Heroism, it would seem, is a tough gig.

The characters in Fat Pig are so desperately human – they want to have convictions but, in the end, they’d rather be liked or get their needs met. They’re not conventionally likeable, perhaps, but they’re absolutely recognizable as people. All I care about is creating individuals who are interesting. Interesting and as complex as people are in real life. I hope I’ve done that here.

Neil LaBute, playwright of Fat Pig

THE

BIG ISSUE

In our research for Fat Pig, we spoke to many people with self-image issues, in particular to do with their weight. We also found numerous articles online on the subject, and we have selected several extracts to share with you here: Fashion giant Abercrombie & Fitch got itself into a huge mess awhile ago when ex-CEO Mike Jeffries proclaimed: “Good-looking people attract other good-looking people, and we want to market to cool, good-looking people. We don’t market to anyone other than that. In every school there are the cool and popular kids, and then there are the not-so-cool kids. We go after the cool kids. A lot of people don’t belong in our clothes, and they can’t belong. Are we exclusionary? Absolutely.”

As a result, Abercrombie & Fitch stores have gotten boycotted, protested against, and angry people are fighting back in creative ways too: One man brought A&F apparel around to homeless folks in an initiative he called #FitchtheHomeless.

Blogger Jes Baker, who wears a size 22, came up with her own response, changing the brand’s A&F logo to ‘Attractive & Fat’ in a mock, blackand-white Abercrombie ad, and declaring: “I challenge the separation of attractive and fat, and I assert that they are compatible regardless of what you believe. Since I am a woman Jes Baker and friend, in the flesh and I am fat and that’s what I have to work with, I wanted to say, ‘Look at how awesome this is.’ Being positive and having confidence is a huge deal. I was crippled from shame my entire life. The most powerful part is saying there is a reality that you can exist in where you’re OK, and it doesn’t make you gullible or delusional, it makes you strong. For a lot of people, it’s just a light bulb.

I know I had one where I said ‘What? I don’t have to live in self-loathing for the rest of my life?’ It’s not about the extra-large shirts at Abercrombie; it’s about teaching the world that everybody is equal in value.”

Kirstie Clements, former editor of Vogue Australia, writes: “Society is understandably concerned about the issues surrounding body image and eating disorders, and the dangerous and unrealistic messages being sent to young women via fashion journals. When it comes to who should be blamed for the portrayal of overly thin models, magazine editors are in the direct line of fire, but it is more complex than that. The ‘fit’ model begins the fashion process: designer outfits are created around a live, in-house skeleton.

Few designers have a curvy or petite fit model. These collections are then sent to the runway, worn by tall, pin-thin models because that’s the way the designer wants to see the clothes fall. There will also be casting directors and stylists involved who have a vision of the type of woman they envisage wearing these clothes. For some bizarre reason, it seems they prefer her to be young, coltish, 6ft tall and built like a prepubescent boy. It is the ultimate vicious cycle.”

America’s Next Top Role Model

Noel Duan, in Fat For An Asian: The Pressure To Be Naturally Perfect, writes: “I’m not fat - by American standards. I am considered slightly chubby for an Asian in China. I’m 5’1” and about 100 pounds, give or take five pounds depending on whether it’s New York Fashion Week or final exams week at Columbia. Everyone assumes I’m naturally petite because of my Asian genetics, but the truth is, I count my calories like Ebenezer Scrooge counts his gold coins and run and do yoga like Lululemon is paying me. The moment I ‘let myself go’ the weight bounces back. I try not to talk about it, though, because the moment I do, someone always says, ‘Shut up, you’re Asian.

You have genetics on your side.’

Asians will force-feed you when they think you’re too thin, and they’ll shame you when they think you’re too fat. Asian girls are suffering from body image issues and eating disorders because they try to hold themselves up to the expectation that Asian girls are naturally slim. Fashion designer Diane von Furstenberg declared: ‘It’s great to design for Chinese women, because they are slim and have tiny waists.’

I spent much of my life hating my body because it felt imperfect for both Asian standards and Western standards. I’ve done my best to be the perfect Asian daughter - whether it’s because society expects you to be as the ‘model minority’ or your Noel Duan – apparently, it’s in her jeans parents expect you to be as the ‘precious daughter.’ I never let myself be happy with the way I looked; after all, if I could work for perfect grades, why couldn’t I work for a perfect body? I don’t think I’ll ever be thin enough to satisfy my family. I don’t think I’ll ever be thin enough to satisfy society. And unless things start changing from the inside, I don’t think I’ll ever be thin enough to satisfy myself.”

Ragen Chastain, author of FAT: The Owner’s Manual, writes: “I am a fat woman and the thing about the government waging a war on obesity is that you can’t separate me from my fat – a war against obesity is a war against me. And so the body I live in 100% of the time has become political. No longer do I simply venture out of my house. Oh no, I commit PDFs – Public Displays of Fatness.

EWF: Eating While Fat Any time you eat in public when you’re fat you risk people commenting to you, for example: - Eating a burger and fries: A perfect stranger says: ‘This is why you’re fat.

- Eating a salad: A perfect stranger says: ‘Good for you, keep it up and you’ll lose the weight.’

In either case, my response: ‘You are way out of line and you don’t know what you’re talking about. How dare you? Move on.’

WWF: Working out While Fat Picture this. I am at the gym doing High Intensity Interval Training. The person on the machine next to me says: ‘Good for you for starting an exercise program, stick to it and you’ll lose the weight.’ Now, I have a problem with someone feeling comfortable making an assumption OUT LOUD, TO ME that I’m a beginner exerciser. Also, why does it always seem like the same people who are telling me that I should lose weight are subsequently offended by my body in the gym?

Regan Chastain - WWF

DFA: Displays of Fat Affection A Marie Claire blogger wrote: ‘I’d be grossed out if I had to watch two characters onscreen with rolls and rolls of fat kissing each other; I’d be grossed out if I had to watch them doing anything.’ So I am left to contemplate that there are people who are so broken that they feel the need to tell the world that they are grossed out at the thought of me receiving physical affection or doing anything, and that instead of dealing with their bigotry and prejudice, they feel that I should be home bound for their aesthetic pleasure. Um, no.

FIP: Fat in Public This covers all the rest of the time. I’m always fat, but being fat in public can mean anything from a car full of high school boys making mooing sounds, or grown men throwing eggs at me, or a well dressed gentlemen lecturing me about how I’m costing him insurance money.

So what is to be done? For me the first is realizing that the world is screwed up and I am fine. The next step is choosing not to participate in that culture. Here are some suggestions: - Stop negative body talk about other people’s bodies, celebrities’ bodies, your body. Focus on becoming aware of your own negative body thoughts, interrupting them, and replacing them with something positive.

- Stop participating in conversations about negative model talk – interrupt or walk away.

- Actively seek out pictures that aren’t the single standard of beauty shoved down our throats by the media and realize that all things in nature come in different shapes and sizes, including human bodies.

- Commit the absolutely revolutionary act of loving yourself and your body right this second. Even if you perceive it as flawed, consider recognizing all of the amazing stuff that your body does for you and developing some gratitude for that.

Now if you’ll excuse me, I’m going to go EWF, then head to the gym for a little WWF, and then see if I can get involved in a DFA. After that I think I’ll just be FIP for a while.”

Finally, we felt it would be fitting to hear from actress Frances Lee, “Helen” in Pangdemonium’s Fat Pig: “I was thrilled to learn about the play Fat Pig, where the female heroine is not the svelte ingenue that many women aspire to be, but a woman that represents a group often ignored in society. For me, this play seemed to mark two very important periods in my life so far: graduating JC with the fear that my weight would prevent me from getting into drama school, and graduating uni uncertain of where the industry would put a plus sized girl like me. I feel an empathy with Helen where I yearn to show people what she is like: how beautiful she truly is, and how fragile at the same time.

The first time I read this play, I felt like I saw through her guise. The confidence she possesses is real, but there is something underneath it. I have made the same selfdeprecating jokes, and I have gotten laughs. But it is always better to laugh with others than to have them laughing at you. I identify with Helen’s insecurities, and her need to hide them in order to even have a chance in the world. I feel the pain that comes with having your weight define your whole being. It’s not a nice feeling.

Do I find terms like ‘plus sized’, or ‘overweight’ or ‘fat’ offensive? Absolutely not. I believe they are real terms to describe real body types. Why waste time being politically correct, when you could just change the attitude towards the word? ‘Skinny’ is just as descriptive, but why does it not carry the same weight (pun totally intended)? I just think that being fat shouldn’t be looked at as a bad thing anymore. It’s just a thing some people are. And we’re beautiful, too. In the words of Mika, ‘Big girls - you are beautiful!’

Frances Lee - beautiful

PANGDEMONIUM is dedicated to bringing stories to life on the stage in the most dynamic way. Artistic Directors Tracie Pang and Adrian Pang are committed to producing works which are accessible, relevant, inspiring, challenging, and above all, have the highest artistic, entertainment and production values, and they aim to bring their work to a diverse audience, in a league with the very best of theatre internationally.

Our inaugural production in 2010 was the smash hit musical comedy The Full Monty, followed by the critically acclaimed drama Closer, the award-winning comedy Dealer’s Choice, the rock musical Spring Awakening, and the showbiz satire Swimming With Sharks. Our 2013 Season was made up of the drama Rabbit Hole, the musical Next To Normal, and the comedy-drama Gruesome Playground Injuries.

Our 2014 Season kicks off with Fat Pig, followed by the musical comedy The Rise & Fall of Little Voice in May 2014, and the psychological drama Frozen in October/November 2014.

GRUESOME PLAYGROUND INJURIES (2013) Alan Wong and Seong Hui Xuan

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WE WANT TO HEAR FROM YOU! So whether it’s to give us feedback; suggest shows; get more info about us; get involved in the work we do; or give us a bunch of money, contact us at: PANGDEMONIUM 27 Ubi Road 4, #06-01, Singapore 408618 Telephone: (65) 67460046 | admin@pangdemonium.com www.pangdemonium.com www.facebook.com/pangdemonium NEXT TO NORMAL (2013) Nathan Hartono, Linden Furnell, Adrian Pang & Julia Abueva

FAT PIG TEAM CAST HELEN TOM

Frances Lee Gavin Yap

CARTER

Zachary Ibrahim

JEANNIE

Elizabeth Lazan

CREATIVE TEAM PRODUCERS

Adrian Pang & Tracie Pang

DIRECTOR

Tracie Pang

SET DESIGNER

Eucien Chia

LIGHTING DESIGNER

James Tan

SOUND DESIGNER

Guo Ning Ru

HAIR & MAKEUP ARTIST

Haslina Ismail

COSTUME DESIGNER

Tracie Pang

PRODUCTION TEAM PRODUCTION MANAGER STAGE MANAGER ASSISTANT STAGE MANAGERS

Victoria Lim Carolene Ruth Liew Joyce Gan Nureen Raidah

TECHNICAL MANAGER

Marc Andre Thierren

WARDROBE MISTRESS

Noorasmidah Rashid

DRESSER

Noor Rashikin

PANGDEMONIUM TEAM MARKETING/FINANCE MANAGER BUSINESS DEVELOPMENT MANAGER SALES & TICKETING MANAGER GRAPHIC DESIGNER / IT TICKETING & MARKETING ASSISTANT

Katerina Tiapula Renee Tan Debbie Andrade Crispian Chan Renee Yeong

CAST Zachary Ibrahim - Carter 23-year-old Zachary Ibrahim returns to the theatre in his first production since Visual Monsters’ 2012 adaptation of Neil Simon’s London Suite. He spent 2013 with the Night Safari as an Animal Trainer/ Presenter for their Creatures of the Night show.

Just over the horizon is the David Liu and Kelvin Sng film I Am Jonathan - with production slated to kick off later this year - in which he plays the lover of the titular character. In between his acting work he spends time as the frontman of his rock band, The Gauntlet.

Zach is very excited to be kicking off his career as an actor with Pandemonium’s Fat Pig - as the facetious chauvinist Carter, no less and is looking forward to bringing this character to life for all of you.

Elizabeth Lazan - Jeannie Elizabeth Lazan is a Stage, Film and TV Actress based in New York and Singapore. Some notable projects include roles in Mama’s Wedding (ACTION Theatre), The King Lear Project: Trilogy for The Kunsten Arts Festival (Belgium), High Class by playwright Michael Chiang. For TV/ Film - DejaVu, Saise2 for France Deux (Paris), Cooking Without Clothes (Shanghai Film Festival), I’m In Charge by MediaCorp 8 and documentarydrama I Hugged The Berlin Patient, currently touring festival circuits.

In NYC, Elizabeth co-produced and starred in the off-off Broadway production Commencing and monologue series Therapy Love Bar under Pound Productions, an NY based creative team she co-founded. She also produced the Asia Premiere of performance/installation Future/ Perfect Singapore by renowned artist Tara Subkoff, after its Venice Biennale ’13 debut.

A prominent host in Singapore, Elizabeth has presented for programs I Will Survive, Chakia & Sneakers and Lunchtime Primetime amongst others. When not doing the above, she can be found playing the ukulele or making sketch videos, sometimes both simultaneously.

Elizabeth is thrilled to be back in Singapore for her first Pangdemonium show with this inspiring team!

Graduate of The William Esper Studio (NYC) - this is for Bruce and Bill.

Elizabeth Lazan is represented by FLY Entertainment.

Frances Lee - Helen Frances is currently completing her final year in the BA(Hons) Acting programme at LASALLE College of the Arts. While at LASALLE, she has worked with notable directors such as Natalie Hennedige, Adam Marple, Stefanos Rassios, and Nelson Chia. Her most notable roles include The Burgomaster in The Visit; Paulina in A Winter’s Tale; Mrs. Bennett in Pride and Prejudice and Tiresias in Oedipus the King. Her stage debut came at the tender age of 8 when Jacintha Abisheganaden cast her in a production of Baby Beauty World as Rosemary Joseph, staged in Jubilee Hall. She was then part of the children’s ensemble in Chang and Eng the Musical, directed by Ekachai Uekrongtham, from 1998- 2002, when the production embarked on its Asia tour to KL and Bangkok. This being her professional debut, Frances is thrilled to be part of such a stellar cast and Production house, and looks forward to a bright and promising career. Frances wears Marks & Spencer.

Gavin Yap - Tom Gavin Yap is an actor/writer/director who has been involved in the Malaysian entertainment scene for years. Some of his theatre credits include The Fastest Clock In The Universe, Someone Who’ll Watch Over Me and most recently, W!ld Rice’s acclaimed all male production of The Importance of Being Earnest.

He served as Director-In-Residence at the KLPac from 2005 to 2008, during which time he directed productions of The Homecoming, 4.48 Psychosis and Wrecks to name a few. In 2007, he was awarded the National Arts Award for directing.

He is currently gearing up for the release of his feature directorial debut, Take Me To Dinner, which is scheduled to play at select GSC cinemas in March 2014.

Gavin also works as a voice director for animation. His most recent projects include the Emmy nominated Saladin: The Animated Series, Silver Ant Studios’ Seefood and Tripod’s animated Steampunk epic, War of the Worlds: Goliath, which will see its North American theatrical/Blu Ray release in 2014.

He has had several comic book scripts published in Heavy Metal, one of the world’s leading adult SC-FI/ Fantasy magazines, and is also the author of Esquire Magazine’s (Malaysian edition) film column.

Creative team Neil LaBute - Playwright At Brigham Young University Neil LaBute produced a number of plays that pushed the envelope of what was acceptable at the conservative religious university, some of which were shut down after their premieres.

However, he also was honored as one of the “most promising undergraduate playwrights” at the BYU theater department’s annual awards. He received his Master of Fine Arts degree in dramatic writing from New York University and was the recipient of a literary fellowship to study at the Royal Court Theatre.

Films include In the Company of Men, Your Friends and Neighbors; Nurse Betty; Possession; The Shape of Things — a film adaptation of his play by the same title; The Wicker Man; Lakeview Terrace; and Death at a Funeral.

Plays include Fat Pig; reasons to be pretty; Latter-day Plays; The Shape of Things; The Distance From Here; The Mercy Seat; Autobahn; This Is How It Goes; Some Girl(s); Wrecks; In a Dark Dark House; Helter Skelter; The Furies and The War on Terror. LaBute is the author of several fictional pieces that have been published in The New Yorker; The New York Times; Harper’s Bazaar; and Playboy, among others.

Tracie Pang - Director After her theatre training at Croydon College, London, Tracie then clocked up 25 years working in producing houses and touring shows throughout the UK and Asia. This period includes work with Quicksilver Theatre Company; Johnny Ball Productions; Mu-Lan Theatre Company; Pimlico Opera; Theatre Royal Stratford East; Surrey Opera; and Theatreworks.

Tracie helped to set up and establish The Little Company, a theatre company that provides quality plays for children aged 3 –14, for whom she has written and directed numerous productions, including The Sound Collector; When I Grow Up; It’s A Hot Christmas; Grandma’s Journey; Little Victories; The Ugly Duckling (2006/7); and The Gingerbread Man. She directed Members Only for SingTheatre; and her work for the Singapore Repertory Theatre includes Boom; Defending The Caveman; The Office Party; and at the ST Life! Awards she has been nominated five times for the Best Director Award for The Dresser; The Snow Queen; The Pillowman; The Full Monty; and Dealers Choice.

In 2009 Tracie founded Pangdemonium! Productions with her husband Adrian, and went on to direct The Full Monty (nominated for 6 ST Life theatre awards); Closer; Dealers Choice (nominated for 6 ST Life Theatre awards); Spring Awakening; Swimming with Sharks; Rabbit Hole; Next to Normal; Gruesome Playground Injuries; and is looking forward to directing Fat Pig in February 2014.

Eucien Chia - Set Designer Eucien is the three-time winner of the Best Set Design title at the ST Life! Theatre Awards for December Rains (Toy Factory); Dealer’s Choice (Pangdemonium); and Company (Dream World Productions).

Having enjoyed working with Tracie & Adrian on the set design for Spring Awakening (Nomination, Best Set Design 2013), Eucien is glad to be back again to design for their 2014 season.

Eucien’s recent set designs include Take Me Out (Tim Garner Productions) and Edges (Derrick Chew Productions). Previous productions include: Shanghai Blues (Toy Factory); Snow White (Wild Rice); The Arabian Nights (I-Theatre); H is for Hantu (STAGES); Thoroughly Modern Millie (LASALLE); Sing To The Dawn (I-Theatre); and Monster Rock (Universal Studios Singapore).

As an full-time Architect, Eucien has designed houses, institutional buildings and city masterplans. His event designs include the inaugural National Day Parade at the Marina Bay Floating Platform (2007), and an outdoor maze installation titled disSPACEments commissioned for the Singapore Arts Festival (2008).

All thanks to God for life, liberty and Linda!

James Tan - Lighting Designer James Tan (Lighting Designer). Recipient of The Allen Lee Hughes Lighting Design Fellowship, United States Institute for Theatre Technology (USITT) YD&T Lighting Design Award, USITT Commissioners Grant & International Association of Lighting Designers (IALD) Education Trust for IALD Enlighten Americas and National Arts Council Of Singapore Arts Professional Scholarship. Masters Of Fine Arts in Lighting Design, University of California, San Diego. Selected USA Lighting Design Credits: Too Clever by Half; As You Like It; The Misanthrope; Camino Real; and The Seagull. ALD for Madame Butterfly (San Diego Opera); Sammy (The Old Globe); Restoration; and Little Miss Sunshine (La Jolla Playhouse); Ah! Wilderness; and The Normal Heart (Arena Stage, The Mead Center For American Theater). Recent Singapore Theatre Lighting Design Credits: Jack & The Beansprout (W!ld Rice); Gruesome Playground Injuries (Pangdemonium Productions); 8 Women (Sing’Theatre); The Sleeping Beauty (Singapore Dance Theatre); and Eat a Bitter Bloom (Arts Fission). Singapore Architectural Lighting Design Projects: OCBC Garden Rhapsody: Rainforest Orchestra - Asia (Gardens By The Bay), The Art of the Brick® Exhibition by Nathan Sawaya (MBS ArtScience Museum). International & Regional Tour: Relatively Speaking (The British Theatre Playhouse) and God Of Carnage (Singapore Repertory Theatre). Akan Datang: House Of Bernarda Alba (Wild Rice).

Guo Ning Ru - Sound Designer Ningru grew up playing the piano and singing in the choir. She was always intrigued by the magic of theatre, and later went on to pursue a BA(Hons) in Technical Theatre Arts, LASALLE College of the Arts where she majored in Production Sound Design.

Since then, she has sound designed for many productions including Gruesome Playground Injuries (Pangdemonium); The Trojan Women (SRT Young Company); Pursuant (Singapore Lyric Opera); Edges (Sightlines Productions); and Songs For A New World (Theatrelab). She was also Associate Sound Designer for the premiere of Incanto (Resorts World Sentosa).

Other recent credits include Lightseeker (Resort World Sentosa); Three Little Pigs (Singapore Repertory Theatre); Rabbit Hole (Pangdemonium); Lao Jiu (The Theatre Practice); A Chorus Line (Base Entertainment); The Lion King (Base Entertainment); Remember to Say Goodbye (Tan Chang Ren); and Voyage De La Vie (Resort World Sentosa).

Ningru is grateful for all that she has been blessed with in life.

Carolene Ruth Liew - Stage Manager Carolene received a BA (Hons) in Stage Management from the Royal Welsh College of Music and Drama, United Kingdom on a National Arts Council Overseas Scholarship, as well as The Lee Foundation Bursary.

Her theatre credits include, The Passion (National Theatre of Wales); The Face In the Mirror (Welsh National Opera); I Saw Myself (Lurking Truth Theatre), Swimming with Sharks; Next to Normal; Gruesome Playground Injuries (Pangdemonium Productions); Shakespeare in the Park: Othello (Singapore Repertory Theatre); Company – The Musical; Crazy Christmas Ting Tong Belles (Dream Academy Productions); and Madama Butterfly (Singapore Lyric Opera).

Carolene is delighted to be working with everyone at Pangdemonium once again. She is grateful to God and would like to thank her family and friends for being so supportive of the path she has chosen to take.

THANK YOU! Tracie and Adrian would like to say a big THANK YOU to the following for creating further PANGDEMONIUM with us on our production of Fat Pig:

Production Sponsor

Official Magazine

Official Photography

Official Card

Official Caterer

Official Godmother Fairy

Official Privilege Card

Official Outdoor Media

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Supported by

Wardrobe by Robinsons and Marks & Spencer

Special shout-outs: Eucien – for turning a stage into a restaurant/office/beach, for fuck sake James – for lighting that takes 10 pounds off the actors on stage Ning Ru – you’re a SFX Machine Carolene – solid as a rock Nureen & Joyce – solid as two rocks Victoria – can we adopt you?

Marc Andre – awesome at every stage Haslina – ExtraordinHairy (that’s a “made-up” word, can you tell?)

Mido – Mistress of the Art of War-drobe Katerina – for juggling accounts, chainsaws and marketing Renee – da best in da biz dev thang Debbie – for expertly dealing with FOPs, STHs and DIKs Crispy – you want IT, he’s got IT Ren - welcome to the madness, the mayhem, the Pangdemonium!

The Fab Front of House team – if we could pay you, we might. Seriously, thank you!

The DBS Arts Centre staff & crew Cheryl & Print Dynamics The SISTIC Team

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Your Nyonya Family Restaurant & Delicatessen

Restaurants

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Delicatessens

209 EAST COAST ROAD Singapore 428908 Business Hours 10:00 am – 8:00 pm Closed on Mondays but opened if it’s a public holiday.

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“THRILLING, HUMANE AND TIMELY.” - THE TIMES

FROZEN

by Bryony Lavery

One sunny morning 10-year-old Rhona goes missing. Her mother, Nancy, goes into a state of frozen hope…

Agnetha is a psychologist studying serial killers. Does she believe what she preaches, even as she fights her own demons?

Ralph, is a loner with a fractured history, looking for some distraction… Is he a monster? Or a misunderstood man-child?

They each go on a tangled, twisted journey, before finally finding the light.

FROZEN is a “surprising & bravely comic” (The Independent) study of the human psyche, our capacity for unthinkable cruelty, as well as unconditional compassion.

23 OCTOBER - 9 NOVEMBER 2014 ESPLANADE THEATRE STUDIO