Cake Theatrical Productions' Simon Says
National campaigns—who hasn’t heard or been affected by these? A new group show at the National Library re-examines their most ubiquitous element.
Actually, it’s not so much new as it is expanded. An earlier version of Campaign City: Life In Posters was exhibited at Evil Empire back in 2010.
Enjoyable as that show was, I had some misgivings about how the artists responded to the idea of campaigns—but this version works much better.
A collaboration by the NLB and Salon Projects (with Alan Oei and Cheong Kah Kit spearheading), Campaign City features 50 contributors from different backgrounds (artists, graphic designers, students, poets, theatre peeps) creating their own posters.
Continue reading ‘Artists give S’pore campaign posters a twist’
Rizman Putra's 5.1 under Cake Theatrical Productions' Decimal Points series. Photo courtesy of Cake.
In Singapore’s rather segmented arts scene, very few cross over with ease, fluency and frequency. Rizman Putra’s one of them—a visual/performance artist, band frontman and theatre performer. But it’s not as if he switches hats. In fact, you could say he’s constantly wearing the same one, which makes his multiple performance forays all the more fascinating.
He does, however, put on a new one—director—in 5.1, Cake Theatrical Productions’ fourth Decimal Points production (before creators Brian Gothong Tan, David Lee, Philip Tan and Rizman get together for one big collab next year). And here he goes all out with extreme physical theatre and an explosion of light and sounds so in-your-face that even if he left the (physically draining) performance to five other peeps (Fared Jainal, Sharda Harrison, Syaiful Ariffin, Patricia Toh and Yazid Jalil), 5.1 had Rizman Putra written all over it.
Continue reading ‘Channel surfing onstage at Decimal Points 5.1′
The Perfection Of Ten. Photo courtesy of Delvin Lee.
The Perfection Of Ten is only the third production of Sean Tobin’s that I’ve seen.
I’ve been trying to grasp his aesthetic since last year’s What Did You Learn Today? and, to a lesser extent, this year’s Tongues. With this latest work, I’d like to think I can see more clearly where he’s coming from—and I love the weirdness, the playfulness, the self-reflexivity, and the overall magnanimity of his vision.
Continue reading ‘It’s a 10! Circle of laughs and more! Pat Mok!’
Si Ti Kay is full of images worthy of a wince here, a cringe there. It piles on one disturbing moment after another. Bodies writhing in pain or groaning in ecstasy, rubbing against each other, playing footsy while feasting on a mountain of rice, sensually immersed in a tub of milk. Desire, lust, greed unfold before and around us.
In Si Ti Kay, the Id is unleashed.
Or at least that’s how it should perhaps have played out at tonight’s one-off performance of the latest work from The Substation artistic director Noor Effendy Ibrahim under Cake Theatrical Productions.
Continue reading ‘Si Ti Kay! Not quite taboo, oh-kay?!’
Ho Tzu Nyen may be what others describe as a cerebral artist, but he never neglects the five senses, whether it’s emphasising the act of gazing at a painting-as-video or being completely immersed in smoke. For him, the best place to watch a movie is in the very front row of a cinema, your entire vision enveloped by the screen. The best concert experience is to be moved by the music in a very literal sense. (A couple of years ago, he raved about, if remember correctly, attending a gig by doom metal band Sunn O)) where one literally felt the body vibrate.)
This “truth of sensations”, as he describes it in the programme booklet, is at the heart of the visceral The Song Of The Brokenhearted Tiger, which kicks off this year’s The Studios season at the Esplanade. After a two-week break from the local art scene, coming to watch it was a full-on punch in the gut. This was no icanhascheezburger event – it came at you claws out and fangs bared, gouging your eardrums and blinding you (sort of, for a while) into submission.
Continue reading ‘Tiger tales! Caterwaul of sound! Roar!’
Can an experimental theatre group get even more experimental? Looks like it, with Cake’s new series in partnership with The Substation. Their theoretically promising three-year project Decimal Points will see four artists take a shot at directing a theatre piece from the vantage point of their respective disciplines. Somewhere down the road, you’ll have Rizman Putra for performance art, Philip Tan for sound, David Lee for fashion/design, and earlier tonight, it kickstarted with film-maker/video artist Brian Gothong Tan’s cinema-meets-theatre directorial debut 4.44. Continue reading ’4.44! Cinema and theatre face off!’
The Art of Living In The In-Between is the over-arching title for theatre company Cake’s fifth anniversary celebrations over at Evil Empire.
It sounds all Sun Festival-y but it’s actually a bunch of crazy fun stuff you can’t pin down. It’s got workshops, there’s a weekend pancake brunch (?!), a Madonna karaoke night (?!?!), and a bunch of mini-performance art stuff and video installations. There’s a giant swan outside and one of the doorways inside is, well, slanted.
Continue reading ‘Sounds of science! Disembarking disco dude! Cake’s crazy characters cavorting!’