I've been attending their events since May 2025. They organise many events but primarily I attend the ones titled Actors' Kopitiam.
30 May 2025
Heard from a film director about how he struggled to work around background extras who make themselves conspicuous on camera – such as wearing shocking pink – when he wants them to be unobtrusive, perhaps through an all-black attire.
28 July 2025
Heard from a action director about how to work with directors who seem clueless about how to achieve stunts on camera (think: kungfu moves like Neo's, in The Matrix series). Sometimes they ask for stunts that human bodies are physically incapable of achieving -
The reading material arrived in my inbox on a Wednesday, five days before the workshop was due to start.
It was from a 2016 book: “Applied Theatre: Facilitation
Pedagogies, Practices, Resilience”, by Sheila Preston. Chapter 1 presented a case study where:
a member of a mental health institution expressed his disquiet at the idea that other members of the group were happy to perform, in public, a play about the experience of mental illness. He felt uncomfortable with the association and that they would be representing “him”.
Indeed, any intervention – which may sometimes be a facilitated workshop, or a staged theatre production – may run the risk of reproducing dominant narratives, leading to anxiety and sensitivity among the disenfranchised.
What then is the role of a facilitator in this social and cultural system that surrounds the facilitator on all sides – whether at the family dinner table, or at the workplace desk, or during the morning commute?
Date: 21 August 2026, 8 PM.
Venue: Waterfront Theatre at Esplanade, Singapore
A howl emerged from the character on stage. “You're a bag of rats!”
The character had a pot belly, wore a beard, and sported a mass of curly, rust-brown hair – and when he got upon his feet, after having lain down conspicuously, the audience could see, stretching around his corpulent belly, the waistband of his off-white underwear.
“My mental health is going from bad to worse!” he screamed.
The character was not in a monologue; for the large part of half an hour, he had been verbally jabbed, poked, and mocked by another character: buxom, blonde and lipstick-ed. And cruel.
I shall apply Chatham House Rules, where no names nor affiliations may be revealed, though discussions may be reproduced outside of the discussion room.
Q: How do you handle fame? It's so easy to get lost in ego and fame. Bon Jovi said: “Fame is a liar and a thief. I've seen it ruin people. It is what I do, and I do it well, but it does not define me. I have a family, a business, and tennis.” Fame can be so destructive.
A: Don't define your worth based on who takes a photo with you after red-carpet events, or how many followers you have on social media. Find the people you look up to, such as directors or other actors, and ask them for their feedback on your craftsmanship as an actor. If you believe your own publicity, then you will also believe the negative comments.
Q: do you think your roles represent you as the person you want to be? You have worn many hats – you have been an actor, a producer, and a director.
A: [chuckles.] That's quite a meta- kind of question. [pause] I bring my best self to work. I show up on time. On set, I give everyone the time of day: the AD (Assistant Director), the ADPA (Assistant Director Production Assistant), and the caterer. There are so many people on set. And, I like tequila, [audience laughs] but 48 hours before a shoot, I avoid drinking. If you can hold your liquor, that's fine, but that's how I conduct myself. I don't know if this behaviour represents my race, my ethnicity, and my nationality, but that's what I do.
Q: how did it happen? How did you get inside the world of [redacted]?
Yesterday was my first time attending a performance of Shakespeare's plays. I have read a number of his texts before (Othello, and The Tempest, just to name a few) but actors bring a new dimension to the performance. As my acting-lessons coach once said, “The text is dead. Actors have creative freedom to choose how they want to emote the words.”
Of course, the behind-the-scenes crew, and not just the cast, are outstanding in their individual and collective genius – time does not suffice to list all their luminary contributions.
Included in the crew are Rayann Condy (as Intimacy Director), and Matt Hutchinson (in the department of Puppets, Puppetry Design & Direction). And Lee Yew Jin (sound design), and Peps Goh (fight-choreography).
I would like to highlight the physical space as another actor in its (her?) own right. The venue is Fort Canning Park. As the sun lowered itself behind skyscrapers – which, in the blue light of dusk, glowed softly with a thousand electric lights – a couple of large birds (wildlife, not props) soared above the greenery. “Eagles,” my companion-for-the-evening said. What a strange sound they are making, I thought. I've never heard them vocalise before.
Part of an actor's work is finding scripts and today I received one.
It uses the gimmick of body-swap – once popularised in the movie, “Face Off”, featuring Nicholas Cage (1997) – but after reading it, I fear that I will be ashamed of the final work.
Games, and exercises, to build up confidence and reflexes.
stand in a circle. Next person asks you: “what are you doing?” That next person has to do what you say. For example, you might say: “I am playing soccer on the moon.”
enter a space. put in, or take out something. Exit the space. Then, the next person has to evolve the story.
Darren observed their performance once, and then told them to perform again, but with a game in mind – an actor's game. L's goal is to get H to look at her for more than three seconds. H's goal is to give L as little eye-contact as possible.