COME FROM AWAY is presented through special arrangement with Music Theatre International (MTI), New York, NY, USA. All authorised performance materials are also supplied by MTI. www.mtishows.com
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BOOK, MUSIC & LYRICS BY
IRENE SANKOFF & DAVID HEIN STARRING
(IN ALPHABETICAL ORDER)
BENJAMIN CHOW INCH CHUA CANDICE DE ROZARIO REBEKAH SANGEETHA DORAI SHEILA FRANCISCO BRANDON GILL ERIC LARREA DWAYNE LAU GAVIN LEAHY LIM YU-BENG VICTORIA MINTEY NADYA ZAHEER MUSIC DIRECTOR
CHOREOGRAPHER
VOCAL COACH
JOANNE HO
ANDY BENJAMIN CAI
NATALIE YEAP
SET DESIGNER
EUCIEN CHIA
LIGHTING DESIGNER
GENEVIEVE PECK
SOUND DESIGNER
COSTUME DESIGNER
HAIR DESIGNER
ASSOCIATE SET DESIGNER
L.A.C
JING NG
LEONG LIM
ASSOCIATE SOUND DESIGNER
GRACE LIN
ORCHESTRATIONS
RYAN NG
AUGUST ERIKSMOEN
ARRANGEMENTS
ACCENT CONSULTANT
IAN EISENDRATH
GAVIN LEAHY
DIRECTED BY
TIMOTHY KOH PRODUCED BY
TRACIE PANG & ADRIAN PANG Junkyard Dog Productions Jerry Frankel Latitude Link Smith & Brant Theatricals Steve & Paula Reynolds David Mirvish Michael Rubinoff Alhadeff Productions Michael Alden & Nancy Nagel Gibbs Sam Levy Rodney Rigby Spencer Ross Richard Winkler Yonge Street Theatricals Sheridan College Michael & Ellise Coit Ronald Frankel Sheri & Les Biller Richard & Sherry Belkin Gary & Marlene Cohen Allan Detsky & Rena Mendelson Lauren Doll Barbara H. Freitag Wendy Gillespie Laura Little Theatricals Carl & Jennifer Pasbjerg Radio Mouse Entertainment The Shubert Organization Cynthia Stroum Tulchin Bartner Productions Gwen Arment/Molly Morris & Terry McNicholas Maureen & Joel Benoliel/Marjorie & Ron Danz Pamela Cooper/Corey Brunish Demos Bizar/Square 1 Theatrics Joshua Goodman/Lauren Stevens Just for Laughs Theatricals/Judith Ann Abrams Productions Bill & Linda Potter/Rosemary & Kenneth Willman And La Jolla Playhouse and Seattle Repertory Theatre
The duration of this performance is approximately 1hr 45mins, with no intermission. Original Broadway Production produced by Junkyard Dog Productions Come From Away (NAMT Festival 2013) was originally developed at the Canadian Music Theatre Project, Michael Rubinoff Producer, Sheridan College in Oakville, Ontario, Canada, and was further developed at Goodspeed Musicals’ Festival of New Artists, in East Haddam, Connecticut. The Canada Council for the Arts, The Ontario Arts Council, and The Fifth Avenue Theatre, Seattle, Washington, also provided development support. Come From Away was originally co-produced in 2015 by La Jolla Playhouse and Seattle Repertory Theater and presented in 2016 by Ford’s Theatre.
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ARTISTIC DIRECTORS’ MESSAGE
The above is a lyric to one of our favourite songs in Come From Away. It speaks to us in a personal way because, as this is Pangdemonium’s final ever production, we’d like to put the world on pause for one little moment... 16 years have gone by in a flash. From the early days, brimming with hubris and naivety, huddling around the dinner table conspiring, dreaming, believing in our little family project...to today. Over the past decade and a half, we have always done our best to live up to our mission to create theatre that has the power to enrich, enlighten and empower, surprise, stir and stimulate; that asks tough questions, provokes constructive debate, and dares us all to change for the better; that helps us see someone else’s point of view, share in someone’s journey, and connects us despite our differences; that celebrates life, and champions struggle, survival and the human spirit; that makes us count our blessings, appreciate this world more, and strive to live more meaningful lives. In short, we have made it our purpose to take you on “ass-kicking adventures in theatre”, and that has given us so much gratification, meaning and fulfilment.
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When one puts everything into one’s work, it can sometimes feel like life itself has been put on hold in service of that work, like one has forgotten to actually live life, that one’s identity is defined (and confined) by the work. It can feel like one’s world has become a bubble, a little fantasy realm of makebelieve where theatricality eclipses reality. But the real world, real life has always been much more important for us. The first truth for us has always been family. That is what gives us true gratification, meaning and fulfilment. And as the writers of Come From Away say, truth is not just stranger than fiction, it’s better and more wonderful. The trite truism is that when one door closes, another opens. Well, our truth is that while we love this little room we’ve built and furnished and had the joy of sharing with you, we are making the choice to step through the doorway, close the door behind us, and look ahead at the doors ahead of us. But just for one moment, without getting all sentimental and soppy, while we hover “between there and here”, we want to stop the world, take a picture in our mind’s eye, imprint a tattoo on our hearts. In a minute, this present will be past—that’s the tragic beauty of theatre.
It lives in the now while we share it in a communal space. And then it is gone. Hopefully living on in people’s hearts, minds and souls. Hopefully making some sort of positive difference, even if it’s for just one person. That’s what we hope our work has done. With this final Pangdemonium production, we humbly leave you with one last take away, take it or leave it: based on real people and true stories, Come From Away celebrates everything we still believe in about humanity—decency, kindness, empathy, compassion, selflessness, community, putting aside prejudices to make someone’s day a little better, going out of one’s way to do something positive for a stranger...all that is demonstrated in its simplest form on stage, in this beautiful, uplifting, life-affirming musical that also challenges us to question ourselves— would we do that? Well, in the times we live in right now, where there is so much to fear, where the forces around us are making us more polarised than ever, and our authority figures and role models are letting us down, we all need to get back to basics to find within us what makes us human, what connects us, what will ultimately save us. Not just watching “other people” do it while breaking into song on stage. But taking action, in the real world, in real life. For Pangdemonium, telling stories on stage has taught us so many lessons about the real world, real life, and real people. And perhaps we are preaching to the converted, but we have always believed that we all need art in our lives to give us some sort of expression of every human experience, from our most profound grief to our purest joy. We believe that every single individual who embraces some kind of art form, whether as a working professional, an avid hobbyist, or a passionate patron, will have their life enriched. And we trust that you will continue coming to the theatre to get your asses kicked.
So, for the faith and friendship of our followers, audience members, donors, sponsors, the National Arts Council—for allowing us to share our little bubble with you, and helping expand it with us, for the love, support, encouragement, motivation and inspiration you have given us— THANK YOU. To every member (past and present) of our kick-ass Pangdemonium family; our brilliant Board of Directors; and every fabulous freelance performer, creative and technician (all true artists) we have had the privilege to collaborate, conspire, and create with—THANK YOU. To the absolutely essential Singapore theatre community, for the opportunity to join in this journey, build friendships, and share in the Singapore story—keep fighting the good fight, and THANK YOU. Zack and Xander—we love you more than any art form could express. May you have many doors to choose from. For being our real family project, our life, our world, our everything—THANK YOU. Let’s all continue to have ass-kicking adventures in real life. Lots of love, and see you on the other side,
ADRIAN & TRACIE PANG ARTISTIC DIRECTORS
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DIRECTOR’S MESSAGE
I was 7 years old on Sept 11th, 2001. It was evening in Singapore, and I remember walking into my parents’ room and seeing the second plane hit the tower. “That couldn’t be
an accident, could it?”
My mother asked my dad, as they watched in shock before they shuffled me to bed. The next day, my form teacher spoke to my Primary One class, explaining, as best she could, that a terrible tragedy had occurred in New York. It was the first world-changing event I remember. At that point, nobody could have known the magnitude by which 9/11 has since affected us. 25 years later, its impact is clear. It catapulted the world into the 21st century. It shaped an entire war and contributed to a rise in Islamophobia around the world. Many would remember 9/11 as a violent act that begot more violence.
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On a smaller scale, it also neutered us into the humdrum humiliation rituals of security theatre every time we get on a plane. British biologist and public intellectual Richard Dawkins perhaps best exemplified this with his famous tweet from 2013:
“Bin Laden has won, in airports
of the world every day.
I had a little jar of honey, now thrown away by rule-bound dundridges. STUPID waste.”
Come From Away is a very different 9/11 story. It’s not set in the US, and although part of it takes place in an airport and on planes, it’s very much about and on the island of Newfoundland, particularly the town of Gander and its surrounding communities. 7,000 passengers on 38 planes were diverted mid-flight when the US airspace was suddenly closed, forcing the Newfoundland population to nearly double overnight. People on those planes—some of whom did not speak English—were lost, tired, hungry, and, most of all, scared. Come From Away is about what happened in Newfoundland: striking bus drivers stepped off the picket lines to transport the lost passengers, community buildings were immediately turned into shelters, everyday people opened up their homes to show care and compassion to strangers at their doorstep. That is the most powerful thing about this musical. At its core, Come From Away is about the best of humanity in the worst of times. It is about a shared human experience across race, religion, sexual orientation, or national origin. It is a defiant celebration of life in the face of trauma. It will always move me to tears for this fact alone.
Thank you to every soul I have come across in my time at this company— colleagues and friends, freelancers and full-timers—people I’ve vacationed with, cried with, got shit-faced with. It’s been one hell of a run. And Thank YOU for being here. Thank you for getting this programme booklet. Thank you for being a part of Pangdemonium’s journey. The audience is what keeps theatre going. Without you, the industry would not be where it is today. Please continue to attend Singapore-produced theatre. Enjoy the show. Snap a picture. And maybe show kindness to a stranger in need.
TIMOTHY KOH DIRECTOR
Thank you to every person who has touched this show: some of our cast members were in Pangdemonium’s very first production, The Full Monty, and some are working with us for the very first time. All others we have met along the way. It is a true full circle moment for everyone who has worked with Pangdemonium over the last 16 years. I started my journey with this company as an intern in 2015, and now I am proud to be directing its closing chapter.
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WRITERS’ INTERVIEW
“
That’s what Canadian husbandand-wife writing team David Hein and Irene Sankoff learned from their experience creating Come From Away. They were introduced to the story by Michael Rubinoff, a producer friend. Hein says: “We found out there was a commemoration ceremony happening on the 10th anniversary of September 11, 2001, and we applied for a Canada Council for the Arts Grant from the Canadian government and they sent us out there to join it.”
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It was an event where all the ‘Come From Aways’—as the people stranded in Gander were called—were returning to reunite with the friends they’d made, to commemorate what had happened and the kindness they experienced.
“We pretty much
“So we had this
interviewed everyone we possibly could, sometimes for hours at a time. By the end we got invited to their houses for dinner and to stay with them.
Hein says.
We fell in love with the stories and we wanted to share it with as many people as possible.”
opportunity to interview not only the locals but also everyone from away,”
“We set out to write a show that would honour them and would celebrate the kindness that they had shown to the world. And... you know, there’s been this whole journey of us looking at it as a Canadian story that we thought high schools would do, and then learning that it’s not just that; it’s an international story and it’s a story that we were all feeling on that day.” Sankoff and Hein simply wanted to tell this profound story of human kindness as honestly as possible, a modest little musical that high school students could perform. But the show has reached much further than either of them could ever have dreamed.
The play is only 100 minutes long. From the thousands of stories they heard, how did Sankoff and Hein choose the ones that made it onstage? “We wanted to tell every single story that we heard because they were all amazing and, you know, we came back from there with papers and papers and papers,” says Hein. “Not only of the notes that we took on our interviews, but also every letter that was sent back to the schools, to the libraries, to the town hall. We photocopied them all, we watched every documentary, every story we could. And then we continued to Skype people around the world. I think the farthest away was in Tuva, which is south of Russia.”
One of the stories the show tells is that of Beverley Bass, a pilot and the first female captain with American Airlines. On September 11th, her flight from Paris to Dallas was diverted to Gander. “Just because of the situation in America right now,” she says. “Just seeing a female rise through the ranks despite all odds. And we’ve even had one little girl come dressed as a pilot.” Come From Away opened in Toronto just days after the 2016 U.S. election. When it premiered in New York on March 10, 2017, Donald Trump had just signed his second travel ban. The juxtaposition of the welcoming message of the show versus actual U.S. policy was stark. New York Times drama critic Ben Brantley took note of it in his rave review. “We are now in a moment in which millions of immigrants are homeless and denied entry to increasingly xenophobic nations, including the United States. A tale of an insular populace that doesn’t think twice before opening its arms to an international throng of strangers automatically acquires a near-utopian nimbus,” wrote Brantley. Sankoff and Hein remain in contact with the people in Gander, where the show was mounted before it began its run in Toronto.
“I was definitely more nervous in Gander because I knew I just would not feel comfortable if we did not have the blessing of the people whose story we were telling. But really I had that in the back of my head. I was like, you know, what we did, we did the people proud whose stories we told.”
“What we’ve
discovered is a universal story—how on a day like this we’re all in the same boat together. It elimates racial, religious or regional diferences, we all come together in times of crisis, and it reminds people we can all come together on a daily basis.”
In the process, the show has established a profound sense of community, between the players on and off stage as well as the people they represent. Sankoff and Hein have a daughter, now aged 12, and Sankoff says: “She’s grown up with the show —they’re like siblings, she’s been raised by the entire cast, producers and creative team. It’s funny, they say it takes a village to raise a child, and it takes an even bigger village to raise a child while also raising a new musical. But you couldn’t ask for a better community.” “Truth is not only stranger than fiction,” says Hein, “but it’s better and more wonderful. It provides a constant inspiration.”
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ONE STORY
“
You feel like you’re part of something bigger in the universe when you share.”
Kevin Tuerff has seen the musical Come From Away 112 times and met several versions of himself, including German and Japanese iterations. 25 years ago, on September 11 2001, Kevin Tuerff was one of 7,000 “plane people” stranded in tiny Gander, Newfoundland. 12
For four days, Gander’s 8,000 residents opened their arms to the strangers whose 38 planes were diverted so officials could clear the skies as quickly as possible. Despite language and cultural barriers; despite no security checks and no way of knowing if these planes held more terrorists, Gander embraced the strangers and responded by closing schools to provide sleeping spaces and turning its hockey rink into a walk-in refrigerator for the thousands of meals needed.
“There wasn’t a stove
in this town that wasn’t cooking. Volunteers could be making toast at four in the morning for 250 people or driving strangers to people’s homes to take a shower,”
Tuerff says.
Being stranded in Gander, Tuerff said, “was the first time I’ve had to rely on the kindness of a stranger literally. I had a credit card but there were no hotel rooms and only 15 taxis.” He tells a poignant story about arriving at the Gander Walmart to find that the stranded passengers had bought out the entire underwear aisle. He still remembers the simplest gesture: a young boy handing him an air mattress, comfort from the cold floor.
“It’s a very humbling
experience to be a recipient of kindess,”
he says. Tuerff, who at that time was a Texan businessman, never forgot the kindness he and others encountered in Gander. He became the founder and president of “Pay It Forward 9/11,” whereby on the first anniversary of 9/11, he gave each of his 40 employees a $100 bill, asking them to use it for random acts of kindness.
“Some of them bought coffee or a meal, some stood in line at the courthouse and paid a stranger’s parking tickets... But talking about it, they were all having the helper’s high. They were experiencing that euphoria that comes with random acts of kindness,” Tuerff said. “It’s fair to say my life was transformed over those four days I was stranded there.
People in this little town kept saying ‘You would do the same’ and that bothered me because I wasn’t sure we would. “There are times when people do step up. But my mission is to get people to do that every day,” he said, noting that the effort is also a lasting tribute to remember the 2,977 people who died at New York City’s World Trade Center Twin Towers, the Pentagon and in a Pennsylvania field when passengers on a fourth terrorist plane fought back.
Now, the “Pay It Forward 9/11” nonprofit still encourages people to “Do three good deeds and watch the ripple effect of kindness.” There is a particular push for the “11 Days of Kindness” movement, which encourages organisations to promote random acts of kindness each day from September 1 to 11, with a session to let everyone talk about their experiences on September 12. The “Pay It Forward 9/11” website includes a blueprint for groups that want to participate, as well as a plan specifically aimed at getting kids involved. Although he grew up going to church with parents who donated to charities, Tuerff said: “Experiencing this kind of kindness at age 35 changed me for good.”
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ONE TOWN
Even the word Newfoundland conjures up mystique and intrigue. This rugged island forms Canada’s easternmost province. Along its shores cling old fishing villages with brightly coloured cottages. Its dense forests teem with wildlife and its vast tracts of ancient granite have earned it the nickname ‘The Rock’, also a fitting metaphor for its hardy people. Newfoundlanders share a gritty mix of indigenous, French, English, Scottish and Irish heritage. European settlement dates back to 1497 when Italian-born explorer John Cabot claimed the land for King Henry VII of England. With the promise of plentiful cod, a steady flow of immigrants followed.
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Many years on, a new wave of strangers would arrive by air. On September 11 2001, as the terror attacks on the US unfolded, thousands of US-bound aircraft were forced to find alternative destinations. Among them were nearly 7,000 passengers and crew aboard 38 planes who suddenly found themselves in a small town in Newfoundland. As fate would have it, they were in rocksolid hands.
“When the word
terrorism came across the air-to-air traffic radio it sent a chill through the cockpit,”
says Captain Beverley Bass, an american Airlines pilot on duty that day.
In no time the Ganderites, together with locals from the surrounding villages, opened their hearts and homes to the stranded passengers from 95 countries, who quickly became known as the “plane people”. A state of emergency was declared and every school, gymnasium and community centre was transformed into makeshift accommodation.
With the “Come From Aways” unable to take their luggage for security reasons, donations flooded in. Shop owners let the new arrivals take what they needed, and the residents welcomed strangers in to shower and even sleep. They treated them to sightseeing tours, barbecues, music, games and anything else that might help them feel at home.
“What people needed most was reassurance,” says Oz Fudge, the town’s former policeman.
“Then the call came that all US airspace was closed and I was ordered to land in Gander.” For Captain Bass and her fellow pilots, this remote town was a telling destination. “It’s one of the emergency airports we have to study for international crossings between the USA and Europe,” she says. “Most pilots will spend their entire career never landing there.” Yet Gander exists because of that airport. Established in 1936, it was once the biggest airport on the planet. It ferried aircraft to Britain during World War II and was the main testing site for Concorde. So while there was room for the 38 planes on the town’s runway, there was nowhere near enough room for passengers and crew in a town with only 500 hotel beds.
“We knew the people would need food, so I started making sandwiches,”
recalls Gander resident Beulah Cooper.
“There’s a saying here in Newfoundland—we feed you when you’re sad, we feed you whe you’re happy.”
“We wanted to go to
each person and put our arms around them and say: ‘You’re safe, you’re okay, ‘cos we’ve got you.”
“There was a lot of confusion because we didn’t know how long the planes would be here,” says Cooper. In her loungeroom we pore over photo albums, thank you cards and letters from that tumultuous time.
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It wasn’t only people who needed help.
“When the planes first landed I called the airport and was told there were no animals on the planes,”
says Gander’s animal welfare manager Bonnie Harris.
“I knew they were wrong.”
With a colleague, Bonnie crawled through the hold of each plane to rescue 11 dogs and eight cats. “There was also a pair of bonobo monkeys heading to a zoo in Ohio.” Charlotte Gushue was a Canadian third grader when four hijacked airplanes were used to perpetrate the deadliest foreign attack on U.S. soil. She hardly understood it. What she knew was that thousands of passengers, on flights suddenly barred from entering American airspace, landed in this small town in Newfoundland and that she was sent home from school.
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A troublemaker back then by her own admission, she read the room and stayed quiet. When her mother, between hurried phone calls, asked her to go and look through her books and stuffed animals to donate, she was mad. Teeth gritted, she did it anyway. Like most children in Gander on 9/11, Charlotte got the rest of the week off from class, as schools immediately turned into shelters. But this was no snow day: kids were helping their parents drop off food, clean sheets, and toothbrushes, and some even cleaning toilet bowls. Charlotte returned with her parents to her school and understood something major was happening: Sleeping on the gym floor were 770 passengers. Cellphones weren’t ubiquitous, and many of them had no idea what had happened until the community set up TV screens. Charlotte witnessed the horror on their faces as the images flickered. “It’s a hard word to describe,” she takes a long pause. “There was something so big happening... And I don’t think my parents actually explained the concept of terrorism. I think the focus wasn’t on that for us, but it was really on what we can do and how we can help because that had to be a priority for everyone at that time.”
Over the next five days, she watched her mom tirelessly bake batches of tea buns and muffins, her parents doing their part to deliver food. She has no doubt that’s why she eventually became a baker. In a flour-dusted outfit in her “Cookie Starts With C” shop, Ms. Gushue also has no doubt that it set the tone for what she hopes the bakery will mean for the community. She’s cultivating the basic goodness Gander came to encapsulate on 9/11– goodness that’s captured the world’s attention ever since. “It was a very defining moment, even at age 8,” she says. Gander may not look like much from the ground. The Trans Canada Highway passes beside it, and motorists can get what they need without even turning into town. From high in the sky it’s different: Planners built periphery streets in the shape of a goose head discernible from above. For Gander, it’s the airspace that matters, anyway: The airport— opened in 1938—was a staging point for World War II Allies, and later, a refueling stop for transatlantic jets. So, it was a logical landing point during 9/11: Gander received 38 commercial jets carrying about 6,500 passengers—half the number of the town’s entire population.
Most in Gander and surrounding towns had a job they could do— taking people into their homes, offering hot showers or a quiet place to reflect, lending their cars, tracking down kosher food, helping to refill prescriptions, or taking care of pets that had been in cargo.
“We saw people from
95 countries that needed help. And we poured out love and compassion for complete strangers because that’s what we would want if we were stranded in their place,”
says Claude Elliott, who was mayor at the time.
“They couldn’t believe that complete strangers would bring them into their homes and say, ‘Hey, you know, just sit there. I’m going to work; you stay here for the day, take my car, go for a ride.’ They asked, ‘Is this real?’ But, you know, that’s the way we live here.”
“When you look at it,
you see two spectrums: What you saw was the worst of mankind in the 9/11 attacks, and you probably saw the best of it here,”
says Mr. Elliott.
“The more of that good news story we can get out, no matter what the story is, it’s good—get it out, because it seems harder to get the good out than the bad.”
Diane Davis was Ms. Gushue’s teacher on 9/11. She says this very lesson, which her former pupil is carrying forward, is one that she learned herself from 9/11. The retired teacher has helped sponsor Syrian refugees in Gander. They often thank her with food. But sometimes they bring her gift cards for gasoline. “The first time it happened, I was upset, because they don’t make a lot of money. But I realised that I take away their opportunity to get satisfaction from that,” she says. “So now I take it and say thank you.”
She tears up as she recounts the five days she spent helping to house, feed, and care for so many others. But she’s hardly the only one who feels 9/11 right at the surface. When you walk into Cookie Starts With C, the first thing you see is a big bulletin board, with the words “Pay it Forward” painted in black cursive above it, where residents can buy treats for a stranger. One index card attached with a pushpin reads, “1 piece of Cheesecake. For: A police officer.” Another: “Muffin and Medium specialty tea or a coffee. To a mom who is just surviving.” It sets the tone for the place Ms. Gushue wants her bakery to be—a tone that harks back to elementary school, she says: “With 9/11, my parents just brought sandwiches, books, muffins. Like, it doesn’t seem like a lot, but a simple offer of a hot shower or a comfortable bed can mean a lot. That all kind of funnels through my life.
“We can do a lot of
small things and they add up to be really big things for a lot of people.”
https://www.csmonitor.com/World/ Americas/2021/0907/One-town-s-beacon-of9-11-kindness-Gander-shines-on 17
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MUSICAL NUMBERS Welcome To The Rock
Prayer
Mayor Claude and The Company
The Company
38 Planes
On the Edge
Blankets and Bedding
Heave Away / Screech In
28 Hours / Wherever We Are
Me and The Sky
Darkness and Trees
Stop the World
Darkness and Trees (Reprise)
38 Planes (Reprise) / Somewhere in the Middle of Nowhere
The Company
The Company
Beverly Bass and The Company
The Company
The Company
Lead Us Out of the Night
The Company
Mayor Claude and The Company
Beverly Bass
Nick and Diane
The Company
The Company
Phoning Home
Something’s Missing The Company
The Company
Costume Party
Finale
The Company
Kevin T., Kevin J., Diane, Hannah
I Am Here
Screech Out The Band
Hannah
“Prayer of St Francis”: dedicated to Mrs. Frances Tracy. ©1967, OCP, 5536 NE Hassalo, Portland, OR 97213. All rights reserved. “My Heart Will Go On” Words and Music by Will Jennings and James Horner. ©IRVING MUSIC, INC. on behalf of BLUE SKY RIDER SONGS (BMI) Used by permission of Sony/ATV Music Publishing. All rights reserved. 19
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INCH CHUA DIANE AND OTHERS
BENJAMIN CHOW GARTH, KEVIN T., AND OTHERS
Benjamin has performed, notably, as ‘The Baker’ in Into The Woods, ‘Mark’ in RENT, ‘Bobby Strong’ in Urinetown, ‘Buddy’ in Kimberly Akimbo, ‘Theo/Ken’ in Force Majeure, ‘Smee’ in Peter & the Starcatcher, ‘Benmin’ in Tango, and as various characters in Dragonflies (Pangdemonium). He has also been seen as ‘Tartuffe’ in Tartuffe, An Imposter, ‘Tin Man’ in The Wizard of Oz, ‘Jon/Darius’ in God Is A Woman (Wild Rice), ‘Aw Boon Haw’ in The Secret Life of Haw Par Villa (Patch & Punnet), various characters in I Love You, You’re Perfect, Now Change (Sing’theatre), ‘Prince Tun’ in Forbidden City and as ‘Lim Chin Siong’ in The LKY Musical (Singapore Repertory Theatre). He was presented Best Supporting Actor twice at The Straits Times Life Theatre Awards. Benjamin is also a Director and a working Voice Over professional whose audiobook work can currently be found on Storytel.
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Inch is an award-winning multidisciplinary artist, musician and currently an Associate Artist with Singapore Repertory Theatre. Theatre work includes: ‘Cathy Hiatt’ in Last Five Years and the Witch in Macbeth (Singapore Repertory Theatre); ‘Laura Wingfield’ in The Glass Menagerie, ‘Rapunzel’ in Into the Woods and ‘Mary’ in Force Majeure (Pangdemonium); ‘Xiao Ma’ in Lao Jiu the Musical (The Theatre Practice); ‘Serene’ in Detention Katong and ‘Chiobu’ in Broadway Beng (Dream Academy); ‘Mui Ee’ in The Teenage Textbook (GO! Theatre); and the Teacher in Not in My Lifetime (The Finger Players). Her own original work includes ‘Til The End Of The World, We’ll Meet In No Man’s Land (TheatreWorks), a multisensory production that won Best Sound at the 2020 LIFE! Theatre Awards. ‘Two Songs & A Story’ with Checkpoint Theatre. Her second full-length one woman musical, Myles: Soulmate in a Box (Singapore Repertory Theatre). Inch is a recipient of the National Youth Award (2018), the Woman of the Future Award in Arts and Culture (2024) and the Compass Artistic Excellence Award (2024).
CANDICE DE ROZARIO HANNAH AND OTHERS
Candice is no stranger to Pangdemonium, having played Estelle in their first production, The Full Monty, the Adult Women in Spring Awakening, and Jack’s Mother in Into The Woods. Other credits include The Emperor’s New Clothes, A $ingapore Carol, and Mad Forest (Wild Rice); Forever Young (Sing’theatre); Company (Dream Academy); Fried Rice Paradise, Much Ado About Nothing, and Forbidden City (Singapore Repertory Theatre); Lao Jiu: The Musical (The Theatre Practice); Furthest North, Deepest South (The Finger Players). Candice is also a writer, director and voice actor, and is the lead vocalist of symphonic metal band Sangriento, who have released two studio albums, available on Bandcamp and all streaming platforms.
REBEKAH SANGEETHA DORAI
BRANDON GILL
BEVERLY, ANNETTE, AND OTHERS
Rebekah Sangeetha Dorai is an actor, singer, and voiceover artist. On stage, critics called Rebekah “a vocal powerhouse” for both her turn as the strict department head, Mandy Thomas, in Secondary: The Musical, and her performance in the Southeast Asian premiere of the critically acclaimed Broadway musical Dear Evan Hansen, where she delivered an “unforgettable” portrayal of Heidi Hansen. She received dual nominations in the Best Supporting Actress category for both of the latter roles at the Straits Times Life! Theatre Awards, clinching the 2025 win for Dear Evan Hansen. On screen, Rebekah played the role of Ruby in the film Tamasira, which just celebrated its world premiere at the 2026 Fantasia Film Festival. This marks her third feature film to screen internationally, following her lead performance in Edith, both directed by Clare Chong of HEI Studios, and Seven Centimetres From Myself (K. Rajagopal). See more online @rebekahdorai.
BOB AND OTHERS
SHEILA FRANCISCO BEULAH AND OTHERS
Sheila is an award-winning Filipino actress whose career spans international cinema and theater. She recently won her third Gawad Buhay Award for Come From Away in Manila. Her cinematic breakout in the internationally lauded film Leonor Will Never Die earned her prestigious FAMAS and Gawad Urian Best Actress nominations, taking her to major global festivals like Sundance and Toronto. Despite her screen success, theatre remains her first love. Handpicked by Sir Trevor Nunn for South Pacific, she holds the historic distinction of being the first Filipina to perform at the National Theatre to rave reviews. Her return to Singapore is incredibly special. Having starred in Pangdemonium’s inaugural 2010 production, The Full Monty, she returns sixteen years later to reprise her role as Beulah in their final production, Come From Away.
Brandon is an NAACP Theater Award winner, a proud New Yorker and a graduate of The Juilliard School. Recent: “Booth” In Pasadena Playhouse’s Topdog Underdog, where he currently is part of the Acting faculty, “Guildenstern” in the NY Public Theater’s Hamlet (Shakespeare in the Park), directed by Kenny Leon. Theater: Originated the role of Fred in Jack Thorne’s five-time Tony Award–winning Broadway production of A Christmas Carol, Bella (Playwrights Horizons, Lucille Lortel nomination – Best Featured Actor, dir. Robert O’Hara), The Last Goodbye (Old Globe, dir. Alex Timbers), World Premieres of Brandon Jacob Jenkins’ Neighbors (Public Theater) & Too Heavy For Your Pocket (Roundabout). Brandon has narrated several New York Times Bestselling authors, including Black Panther: Dreams of Wakanda. TV/ Film: Currently recurs on NBC’s Chicago P.D.; NCIS: New Orleans, Bashira, Radium Girls, Marvels: The Punisher, Madam Secretary, Blue Bloods, Law & Order: SVU. IG: bboyinc
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DWAYNE LAU ALI, KEVIN J., AND OTHERS
ERIC LARREA OZ AND OTHERS
Eric Larrea is an actor and director. He graduated from LASALLE College of the Arts with a BA(Hons) in Musical Theatre and completed the Directing Residency at Singapore Repertory Theatre. Acting credits include ‘PC Stirling’ in 2:22 – A Ghost Story (Singapore Repertory Theatre) and the male ensemble in tick, tick… BOOM! (Sight Lines). Directing credits include The Three Billy Goats Gruff (Singapore Repertory Theatre) and [title of show] (Sing’theatre). After spending the past few years focusing on directing, Eric is grateful for the opportunity to return to acting. He is especially honoured to be making his Pangdemonium debut in Come From Away.
Dwayne graduated with Honours from the NUS Theatre Studies Programme in 2007. He currently heads the Drama Ministry at his church and serves as the drama coach at St. Anthony’s Canossian Secondary School. A familiar face in Singapore’s comedy and musical theatre scene, Dwayne’s theatre credits include Dream Academy’s Crazy Christmas and The Divorce Party; Wild Rice’s The Wizard of Oz (Wicked Witch), Animal Farm (Boxer), Hotel, and Pinocchio (Blue Fairy); Singapore Repertory Theatre’s Treasure Island (Long John Silver), Forbidden City (Record Keeper), and Legally Blonde (Professor Callahan); and Sing’theatre’s Cabaret (The Emcee) and Little Shop of Horrors (Mr. Mushnik). As a writer, his works include A Date with Dwayne!, #GOALS, and Snakes and Ladders!, commissioned by the Esplanade’s FLIPSIDE Festival. In 2021, he premiered Wild Rice’s The Amazing Celestial Race and Momotaro and the Magnificent Peach at the Ngee Ann Kongsi Theatre. His last show with Pangdemonium was Falling by Deanna Jent.
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GAVIN LEAHY NICK, DOUG, AND OTHERS
Gavin is an Australian actor who holds an MFA (Voice) from the National Institute of Dramatic Art. His acting credits include the Narrator in Every Brilliant Thing; ‘Richard Hannay’ in The 39 Steps; ‘Thenardier’ in Les Misérables; ‘Larry’, ‘Buddy’, and ‘Doctor’ in Little Miss Sunshine; ‘Alan’ in God of Carnage; ‘Charlotte von Mahlsdorf’ in I Am My Own Wife; performer in Jacques Brel is Alive and Well and Living in Paris; ‘Trip’ in Other Desert Cities; the ‘Priest’ in Bare; performer in Elegies: A Song Cycle; ‘Che’ in Evita; ‘Howie’ in Rabbit Hole; ‘The Balladeer’ and ‘Lee Harvey Oswald’ in Assassins; ‘The Phantom’ in The Phantom of the Opera; ‘Father Flynn’ in Doubt; ‘Gordon Schwinn’ in A New Brain; ‘Miss Lynch’ in Grease; ‘Buddy’ in Side Show; ‘John’ in John & Jen; ‘Peter Allen’ in The Boy from Oz; ‘Henrik’ in A Little Night Music; and ‘Charley Kringas’ in Merrily We Roll Along.
VICTORIA MINTEY BONNIE AND OTHERS
LIM YU-BENG CLAUDE AND OTHERS
Theatre credits include Lost Cinema; Another Country; The Truth; Animal Farm; Members Only; Doubt; The Lover and The Dumb Waiter; Bent; and Lear; He has won three Life Theatre Awards. Film credits include acclaimed local films Singapore Dreaming; and Solos; and internationals such as Rebel Moon; Anna and the King; Worth The Wait; and Kung Fu Killers. For Singapore television he has led in Identiti; Sephia; Firasat; Do Not Disturb; Lion Mums; The New Home; and Triple 9. He wrote and directed the teen musical It’s My Life; as well as 2 Houses; and Pearl of the Eastern & Oriental; both for the Georgetown Festival, Penang. In 2024 he released an album of original songs, Notes To Self. He continues to work as an actor, director, writer, acting coach, lighting designer, fight choreographer and whatever it takes to get the show up.
Victoria is a British/Irish actor and specialist coach in public speaking. She has called Singapore her home since 2011. Victoria trained at Mountview Academy of Theatre Arts, gaining her MA in Performance (Musical Theatre). Singapore credits include: Macbeth (Singapore Repertory Theatre); Love Letters (Wag the Dog Theatre); Into the Woods (Pangdemonium); People, Places & Things (Pangdemonium); How I Learned to Drive (Wag the Dog Theatre); The Pillowman (Pangdemonium); The Memory of Water (Wag the Dog Theatre); Dragonflies (Pangdemonium); Romeo and Juliet (Singapore Repertory Theatre); The 39 Steps (Asylum Theatre); A Singaporean in Paris (Sing’Theatre); Twelfth Night (Singapore Repertory Theatre); Fantastic Mr Fox (The Little Company). UK & International credits include: Elegies for Angels Punks and Raging Queens (Chelsea Theatre); Dracula – The Musical (White Bear); Speed Dating: The Musical (Jermyn Street); The Attic (Theatre Royal Haymarket); Lead vocalist for Royal Caribbean International. www.victoriamintey.com
NADYA ZAHEER JANICE, FLIGHT ATTENDANT, AND OTHERS
Nadya Zaheer is a Singaporean actress, singer, and educator of Indian-Filipino descent. Some of her theatre credits include Legally Blonde (Singapore Repertory Theatre), An Interrogation (Sight Lines), Secondary: The Musical (Checkpoint Theatre) and Snow White and the Seven Dwarfs (Wild Rice). She is especially passionate about championing local Singaporean work, and considers it a deep privilege to contribute to our vibrant local arts scene. Off the stage, Nadya is a vocal teacher, and teaches singers of all backgrounds and ages. She grew up being terrified of singing so now as a teacher, she hopes to nurture a space where people love their voices & are unafraid to make all kinds of sounds. Beyond the arts, Nadya loves yoga & herbalism, grounding practices that shape how she sees and moves through the world. At the heart of everything she does is the hope that her work might offer a little comfort, connection and strength to everyone.
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JOANNE HO TIMOTHY KOH DIRECTOR
Directing includes: Singapore, Michigan, Who’s Afraid of Virginia Woolf?, Doubt: A Parable, A Doll’s House Part Two, and Muswell Hill. Two-time nominee for Best Director at The Straits Times Life Theatre Awards. Assistant Directing: Lincoln Center Theater, Manhattan Theatre Club. Fellowship at Playwrights Horizons. BFA from NYU.
IRENE SANKOFF & DAVID HEIN BOOK, MUSIC AND LYRICS
Irene Sankoff & David Hein are the Olivier-award winning, Tony and Grammy nominated, Canadian writing team behind the worldwide award-winning hit Musical Come From Away, currently playing to over 100 countries on Apple TV+, and around the world. Their first show, My Mother’s Lesbian Jewish Wiccan Wedding, based on David’s mother’s true story, has won Best Musical awards across North America, with Sankoff and Hein performing in many productions. Together, they have written for Disney, Netflix, Warner Bros., HBO and the CW as well as Marvel Comics and the Canadian government. They are the recipients of the FourFreedoms Good Neighbor Award and the Meritorious Service Cross of Canada which recognizes Canadians’ exceptional accomplishments.
MUSIC DIRECTOR, KEYBOARD AND ACCORDIAN
Joanne is the first Singaporean to graduate from the Royal Conservatoire of Scotland with an MA in Music Directing. She was nominated for Best Musical Direction in Broadway World’s West End Awards as well as Best Music in the Straits Times Life Theatre Awards. Joanne has worked extensively abroad, with credits spanning London, Scotland, Malaysia and Korea. Selected music directing credits include Dear Evan Hansen, Kimberly Akimbo, Fun Home (Pangdemonium); Partial Eclipse of the Heart (The Theatre Practice); The LKY Musical (Singapore Repertory Theatre, Aiwei); Tick, Tick… Boom! (Sightlines); [title of show], A Spoonful of Sherman (Sing’Theatre); In Pieces, The Box, Viral Songs: A Cycle (7/8 Musical Collective); Chicken Little, Red Riding Hood, Peter Rabbit, Three Little Pigs, Treasure Island (Singapore Repertory Theatre’s Little Company); The Paiseh Pieces (Second Breakfast Company); The Addams Family (Edinburgh Fringe). Other selected theatre credits include Wicked; Charlie and the Chocolate Factory (International Tour); The Soldier and His Virtuous Wife (The Theatre Practice); La Vie En Rose (Sing’Theatre); Urinetown (Pangdemonium); Aida (Limelight Productions, Scotland); Company (Dream Academy).
Music Theatre International [www.mtishows.com], with offices in New York, London and Melbourne, Australia, is one of the world’s leading dramatic licensing agencies, protecting the rights and legacy of composers, lyricists and bookwriters and supplying scripts, musical materials, and other theatrical resources to theatres around the world. MTI has been a driving force in extending the production life of such classic musicals as Guys and Dolls, West Side Story, Annie and in promoting newer shows like Young Frankenstein, Shrek and Honeymoon in Vegas as well as Come From Away. With over 500 titles in its catalogue including hits from the Broadway and London stage, musical revues, the Broadway Junior Collection [70-minute adaptations of Broadway musicals especially geared for performance by young people] and other youth musicals, MTI shows have been performed by 60,000 amateur and professional theatrical organisations throughout the US and in over 60 countries around the world. 28
ANDY BENJAMIN CAI CHOREOGRAPHER
Andy Benjamin Cai is a choreographer, dance educator, and performer who graduated from LASALLE College of the Arts in 2002. He has represented Singapore in international competitions in Italy, France, and Russia, winning Overall Champion titles and other prestigious awards. In 2006, he was a finalist with the Soul Fusion group on Singapore’s first television dance competition, The Dance Floor, where he also won the overall Best Dancer award. He served as the Creative Director for the Music & Drama Company for seven years and directed numerous festivals and films. Notably, he has been the Chief Choreographer for the Singapore National Day Parade in 2017, 2022, 2024, and 2026.
GENEVIEVE PECK EUCIEN CHIA SET DESIGNER
After 29 productions spanning 15 seasons, Come From Away is Eucien’s final outing with his intrepid collaborators at Pangdemonium—all of whom have become a beloved second family, warts and all. To mark the end of an era, here’s a nostalgic look back at Eucien’s Top 10 favourite productions: 10. Largest Set: 3-storey NYC backlot – RENT (2016) 9. Most Hyper-Realistic Set: Falling (2024) – with Grace Lin’s eye for detail 8. Biggest Minddf**k: 50 shelves of disappearing memories – The Father (2018) 7. Most Atmospheric Set: The Glass Menagerie (2022) – with Gen Peck’s voyeuristic projections 6. Cheekiest Set: Towering T&A in This Is What Happens To Pretty Girls (2019) 5. Most Envied Set: The gorgeous Sub-Zero Kitchen in Muswell Hill (2022) 4. Grungiest Set: Urinetown: The Musical (2019) 3. Most Unexpected Transformations: Cafe/bedroom/beach – Fat Pig (2014) – with James Tan’s lighting miracles 2. Antiquities Galore: Massive assemblage of antique Peranakan screens – Force Majeure (2026) 1. All-time Favourite: Breaking the cloister in Spring Awakening (2012) – with Marc Andre’s technical wizardry 0. Special Mention: Dealer’s Choice (2011) – Eucien’s first-ever Pangdemonium production, which bagged a Straits Times Life Theatre Award for Best Set Design To Tracie and Adrian Pang: thank you for 16 years of vision, trust and pure theatre magic. It’s been the absolute privilege of a lifetime.
LIGHTING DESIGNER
Genevieve graduated from The Royal Central School of Speech and Drama, London in 2012 with a BA(Hons) in Theatre Practice, specialising in Lighting and Projection/Video Design. Design credits include Dear Evan Hansen, People, Places & Things, The Glass Menagerie, The Effect (Pangdemonium); Fried Rice Paradise – The Makan Party, Grounded, Lungs, The Lifespan of a Fact (Singapore Repertory Theatre); Brainstorm, Third Man Syndrome, The Monster in the Mirror (Gateway Arts); The Commission (Pangdemonium, Singapore Repertory Theatre & Wild Rice); Partial Eclipse of the Heart, All the World’s a Sea, The Soldier and His Virtuous Wife, Four Horse Road, Lao Jiu, Liao Zhai Rocks (The Theatre Practice); ubin, Both Sides Now 2019, Missing, With Time (Drama Box); Everything For You, Between You and Me, Lear is Dead, Art Studio (Nine Years Theatre); Three Years in the Life and Death of Land (The Necessary Stage); Burp, Imagination Station (Esplanade Theatres on the Bay).
JING NG
LEONG LIM HAIR DESIGNER
Leong Lim is the Hair Designer for Pangdemonium’s production of Come From Away. With a keen eye for character, period, and storytelling through hair, he creates designs that reveal each character’s inner world and support the production’s visual language. His recent theatre credits include Secondary: The Musical with Checkpoint Theatre, Force Majeure with Pangdemonium, 12 Angry Men with Nine Years Theatre, and Kimberly Akimbo with Pangdemonium, among others. When not working in theatre, Leong works from his salon, bringing the same care and creativity to his clients’ everyday looks. He is honoured to be part of Pangdemonium’s final production, celebrating the company’s extraordinary legacy through Come From Away.
SOUND DESIGNER
Awarded the National Arts Council Scholarship, Jing graduated with first-class honours from Rose Bruford College (U.K.) specialising in performance sound. Having designed for various companies and productions over 10 years of practice, he aspires to provide a wholesome sonic experience for the audience—what, why and how you listen through a live performance. As an arts educator at NAFA since 2017, Jing has been teaching the core principles and techniques of production sound design. These modules foster in future practitioners the development of a deeper understanding of sound in various artistic mediums and the discovery of infinite possibilities in sonic arts. He was nominated for Best Sound Design in the 2014 Off West End Theatre Awards and nominated for the 2018, 2022–2026 Singapore Straits Times Life Theatre Awards—winning the 2025 & 2026 editions.
NATALIE YEAP VOCAL COACH
Natalie Yeap is a Singapore-based actor, singer, and vocal coach specialising in musical theatre. A graduate of the Royal Academy of Music (Musical Theatre), she performs professionally while nurturing voices of all levels with curiosity, kindness, and joyful intensity. Natalie founded communityrooted arts collectives like Broadway Belters and We’re Oquay, creating brave, supportive spaces for singers and performers. As a vocal coach, she combines technical expertise with expressive artistry, helping students and professionals alike sing with confidence, authenticity, and heart. Vocal coaching credits include Singapore Repertory Theatre’s resident vocal coach (2025–2026) & Pangdemonium’s Triple Threats (2024–2026). She’s really excited to be working on Come From Away!
Audio Portfolio: www.soundcloud.com/jingsound 29
ORCHESTRA LIA LIU LESTER ANG WHISTLES AND FLUTES
Lester Ang (he/him) is a highly sought-after woodwind doubler and jazz musician based in Singapore. His recent musical theater credits include Curtains (Northshore), Kimberly Akimbo (Pangdemonium), Legally Blonde (Singapore Repertory Theatre), the Tony and Pulitzer-winning A Strange Loop (Speakeasy), Hello, Dolly! (Northshore), and the provocative Assassins and Avenue Q (both American Repertory Theater). A versatile instrumentalist, Lester is an active performer across Singapore’s jazz and contemporary music scenes. His professional journey as a saxophonist began with the Singapore Armed Forces Music & Drama Company, and he has since performed at major concert halls and theaters throughout Asia and the US, including with the Boston Children’s Choir at Boston Symphony Hall, and with various Singapore jazz ensembles. Lester studied Music Performance and History at the University of Chicago, where he served as Lead Alto for the acclaimed X-tet under Association for the Advancement of Creative Musicians (AACM) founding member Mwata Bowden. A passionate advocate for the arts’ power to unite and uplift, he regularly volunteers with organizations such as Voices of Hope, raising funds for cancer research through music and theater.
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VIOLIN
Lia Liu is a Singapore-based violinist with over 14 years of professional performing experience. Her theatre credits include the international touring production of Les Misérables, where she performed throughout the Singapore season. She has also performed with JJ Lin and is an active freelance musician in Singapore, performing with orchestras, chamber ensembles and live productions. She is delighted to be part of the company of Come From Away.
JULIAN LI BASS
Julian Li is an accomplished Singaporean double bassist recognised for his orchestral leadership and technical virtuosity. He completed his Bachelor’s degree at the Nanyang Academy of Fine Arts (NAFA), before earning a Master’s degree with Distinction from the University for Music and Performing Arts Graz in Austria. He won the prestigious Goh Soon Tioe Centenary Award in 2013, followed by the Tan Kah Kee Postgraduate Scholarship. Throughout his career, Li has served as Principal Double Bass for the Guiyang Symphony Orchestra and Associate Principal for the Hangzhou Philharmonic Orchestra. He also frequently performs as a guest freelancer with the Singapore Symphony Orchestra. His recent highlights feature musical theatre repertoire, including performances of The Phantom of the Opera and Les Misérables. Furthermore, he performs with the bass ensemble Bass Around Asia. Dedicated to education, he conducts masterclasses to share his expertise with the next generation of classical musicians.
DARYL TAY GUITAR
Daryl is a freelance guitarist, product specialist and producer from Singapore. He has been fortunate to support many artists as a sideman in concerts and tours, and also performs regularly in orchestras and music theatre. Daryl has performed and/or recorded with artists like Hebe Tien, Joey Yung, Show Luo, Jane Zhang, Lang Lang, Stefanie Sun, Miyavi and The Sam Willows. His theatre credits include Sunset Boulevard, Charlie and The Chocolate Factory, Bring It On: The Musical, & Juliet, A French Kiss In Singapore and more. In his free time, he enjoys bouldering and the outdoors. Daryl is very excited to be part of Come From Away!
RIZAL SANIP DRUMS
Rizal Sanip has spent more than three decades making music—as a drummer, percussionist, educator and composer.
WEIWEN SEAH GUITAR AND MANDOLIN
Weiwen Seah is a music producer, session musician and awardwinning songwriter, beginning his professional career at 16 when he was signed to an independent record label. A Berklee College of Music double major in Contemporary Writing & Production and Songwriting, he has since performed as a session guitarist and live musician for artists including LAYYI; Rangga Jones; RRILEY; Joi Chua 蔡淳佳; Dru Chen; MengFM 夢飛船; and Marcus Lee 李俊緯, and in the pit orchestras of Wicked; Hamilton; &Juliet; and Dear Evan Hansen. As a music director, he has led live shows for LAYYI; Rangga Jones; and Josh Makazo, while his production credits include RENE; Rangga Jones; Soph T. 霏霏; lewloh; and Marcus Lee 李俊緯. His own debut EP, in metanoia, earned Spotify and Apple Music editorial placements and was featured on Singapore Airlines’ in-flight entertainment system.
JAMIE LEE PERCUSSION
Jamie is a versatile freelance drummer and percussionist. After her initial foray into theatrical projects with Four Horse Road (The Theatre Practice, 2018) and Sarong Party (The MadHatter Project, 2019), she has gone on to do shows including A Lesbian Love Story: The Musical (The Necessary Stage, 2026); Snakes and Ladders (Esplanade Commissioned, 2025 and 2026); Where Our Heart Beats (Tan Tock Seng Hospital Commissioned, 2024). Jamie is thrilled to bring her energy, versatility, and vibrant palette of percussion to Come From Away!
Following 13 years with the Navy Band and Singapore Armed Forces Central Band, he has enjoyed a diverse career spanning musical theatre, live performances, studio recordings and music education. Along the way, he has had the privilege of accompanying numerous local artistes on stages in Singapore and abroad. His musical theatre journey began with Honk! in 2002. Driven by a lifelong love of music and learning, he returned to school as a mature student graduating with a Bachelor of Arts in Music from LASALLE College of the Arts in 2020. Rizal feels blessed to have a career in music. With Pangdemonium, Rizal has been privileged to be part of Spring Awakening (2012), Next to Normal (2013), The Rise & Fall of Little Voice (2014), Rent (2016), Fun Home (2017), Urinetown (2019), End of the Rainbow (2022), Into the Woods (2023), Dear Evan Hansen (2024), Kimberly Akimbo (2025) and Come From Away (2026). Thank you, Pangdemonium, for the music, the stories, the friendships and the memories. It has been an honour.
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THE
TEAM
CAST (IN ALPHABETICAL ORDER) Garth, Kevin T., and Others
BENJAMIN CHOW
Diane and Others
INCH CHUA
Hannah and Others
CANDICE DE ROZARIO
Beverly, Annette and Others
REBEKAH SANGEETHA DORAI
Beulah and Others
SHEILA FRANCISCO
Bob and Others
BRANDON GILL
Oz and Others
ERIC LARREA
Ali, Kevin J., and Others
DWAYNE LAU
Nick, Doug, and Others
GAVIN LEAHY
Claude and Others
LIM YU-BENG
Bonnie and Others
VICTORIA MINTEY
Janice, Flight Attendant, and Others
NADYA ZAHEER
CREATIVE TEAM Book, Music and Lyrics
IRENE SANKOFF & DAVID HEIN
Director
TIMOTHY KOH
Music Director
JOANNE HO
Choreographer
ANDY BENJAMIN CAI
Vocal Coach
NATALIE YEAP
Set Designer
EUCIEN CHIA
Lighting Designer
GENEVIEVE PECK
Sound Designer
JING NG
Costume Designer
L.A.C
Hair Designer
LEONG LIM
Associate Set Designer
GRACE LIN
Associate Sound Designer
RYAN NG
Orchestrations
AUGUST ERIKSMOEN
Arrangements
IAN EISENDRATH
Accent Consultant
GAVIN LEAHY
ORCHESTRA
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Music Director, Keyboard and Accordian
JOANNE HO
Whistle and Flutes
LESTER ANG
Violin
LIA LIU
Bass
JULIAN LI
Guitar
DARYL TAY
Guitar and Mandolin
WEIWEN SEAH
Percussion
JAMIE LEE
Drums
RIZAL SANIP
PRODUCTION & STAGE MANAGEMENT TEAM Production Manager
LEAH SIM
Production Manager
OTHMAN M. YUSOF
Technical Manager
IAN LEE
Stage Manager
KOH YI WEI
Assistant Stage Manager
LEE JIA MIN
Assistant Stage Manager
NUR AMIRAH (MIR)
Props Master
DANIEL SIM
Props Assistant
SHAWNE KHO YZELMAN
Costume Coordinator
TAN JIA HUI
Wardrobe Manager
RILLA DJONO
Dresser
DILYS ANG
Sound Operator No. 1
PUNG KI MAY
Sound Operator No. 2
JEAN YAP
Sound Operator No. 3
ASHLEY FONG
Sound Operator No. 3
CAMERON MCKEE
Lighting Board Programmer
TAN YI KAI
Followspotter
MUHAMMAD GHAZALI
Hair Assistant
KAREN NG
Accessible Performances Consultant
GRACE LEE-KHOO (ACCESS PATH PRODUCTIONS)
Captioning Operator
JANSEN NG
Sound Crew
BOON
Sound Crew
LEEYAU SHI MIN
Set-up Crew
IAN TAN
Set-up Crew
JOANNE NG
Set-up Crew
ROZIMAN ANWAR
SPECIAL THANKS COMHALTAS CULTURE OF IRELAND, SINGAPORE BERNARD CHNG JONELLE LIM MARCUZ SZETO
PANGDEMONIUM TEAM
RAMU THIRUYANAM
Artistic Director / Managing Director
TRACIE PANG
Artistic Director / Producer
ADRIAN PANG
General Manager
RENEE TAN
Associate Director
TIMOTHY KOH
Production Manager
LEAH SIM
Associate Production Manager
OTHMAN M. YUSOF
Company Stage Manager
KOH YI WEI
JOHN CURRIE
Marketing Manager
KRISTAL ZHOU
DR. JADE KUA
Marketing Executive
DEBBIE NG
HANMING WANG
Relationship Manager
GUINEVIERE LOW
BEATRICE CHIA-RICHMOND
Ticketing Manager
MICHELLE SEETOH
Admin & HR Manager
HILMI SHUKUR
Accounting Manager
MARIEM TOUAHRIA
Ticketing & Customer Service Assistant
JOSH HUANG CHU SI
Front of House Team
NG JAELYN
Front of House Team
VANESSA MOSTAFA
Associate Artist
JAMES TAN
DILAISYA SUAL Vest worn by Ms Francisco, handmade by KAREN TAN
PANGDEMONIUM BOARD
JACQUELINE CHAN TRACIE PANG ADRIAN PANG
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THANK YOU FOR BEING OUR FRIENDS WHITE KNIGHT
HERO
Shaw Foundation
Amith Narayan Agnus
WINGED CRUSADER
Capt. Rahul & Smita Choudhuri
Holywell Foundation
David & Thuan Forrester
HCS Engineering Pte Ltd
Dr Irene Lim & Prof David Stringer
Jacqueline Ho, Esq.
Dr Lena Lee
The Diana Koh Foundation
Jacqueline Chan
The Grace, Shua and Jacob Ballas II Charitable Trust
James & Rebecca Orme
CRUSADER
John Currie & Hong Sun Chee Katherine A Krummert & Shawn Galey Kelvin, Kayla & Natasha
BinjaiTree Foundation
Ken Cambie & Shou Sen Cheam
Chew How Teck Foundation
Kok Aun Koh
Dharmendra Yadav
LAKE
Irene Wee & Wee Chwee Heng
Mr & Mrs Victor and Michelle Sassoon
Piyush Gupta
SUPERHERO Adeline & Timothy Clarence & Amelia Dr Jade Kua & Marion Isabelle Teo Esmond Loon Goh Swee Chen Meng Russell H K Heng Shiv Dewan Shivani Manohara Sze Wei Goh Tania Wee
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CK & Sylvia
Rachel & Wen Juin SL Chan
CHAMPION Aileen Tang Ajai Kaul Ajit Nayak & Subhadra Sethuraman AK & SC Alois Schiessl
Daniela Daryl Lim David & Jessica Neo Dominik von Wantoch-Rekowski Dr Christopher Chen Dr Mandy Zhang Dr Tan Eng Thye Jason Drs Lim Kay Kiat & Nicola Ngiam Ee Yee Emmett, Hazel, Emeric & Ethel Wong Eugene Lee Fam Hui Jiung Foo Yee Ling Gerry & Sharon Craggs Goh Meixuan Greg Walters In memory of KC Kok Jaime Lim Joanne Pek Kelvin Tan & Sandy Chan Kevin Ong SH Low Eng Teong Lynce Tan Magnus Edison Tan Matt Wong Matthew Flaherty Mattopher Melanie Tan
Angela Yap
Michael Wong
Anjali Kuperan & Adrian Allen Joseph
Michelle Shek & Harry Brilliant Mingcheng Lim
Audrey Chng
Ng Yichun
Ben, Sharon, Goku & Bulma Low
Nithia Devan
Berlinda Gooi & Frank Schuurmans
Ojas Nitin Doshi
Bernice & Alzone Ang
Ong Pei San
Beth Hollahan
Pang Siu Mei
Charles Koh
Pauline Lim
Chewng Wen Zhao
Pierre Colignon
Christopher Pang
Rita E Silver
Claire McColl
Ronald & Janet Stride
Saahil & Divya Patel
Doreen Quiaoit
Ng Yew Hoon
Sabrina Soh
Dr Francis Chin
Nguyen Trung Huan
Sandra Gwee
Dr Teo Kien Boon
Nicolas Fanchon
Sardool Singh
Drs Sylvia & Javier
Nigel Ng
Sehr & Ashnil Dixit
Edwin Tan
Ong Ai Ghee
Sharon Tan
Eugene Ang
Ong Hwee Suan
Sumitra & Pramod
Ferlicia Ma
Paul Gosling
Susan Sim
Geoffrey Baker
Preston Soh
Suzanne Lim
Goh Siu Kiat (SK)
Rainnie Zhou
Tanya Tan
Gunjali
Ramesh Shahdadpuri
Thara Gopalan
Hasan Orkan Akcan
Sarah Mei Ismail
Toh Bao-En
HL
Sebastian
Vanessa Seah
Isabel Ong
See Kuo Min Matthew
Wilhem Lee
Jacq & Fel
Sera Foo
Wu Peihui
Jane Hayes
Serene Thain
Yan Zhiyan & Lim Hweeyong
Janice Goh
Shanti & Rajesh Achanta
Yvonne Soh
Janice Low
Siok Chen
Jason Chee
Steven Wong
PANGDEMANIAC
Jennifer King
Suen JM
Joel Loong
Sze Shiang
A&D
Jolyn Moh
Tamara & Cara Chang
AB & J
Jolyn Teh
Tan Hian Hong
AC
Jorin Ng
Tan Siong Min Benjamin
Adrian Toh
Joyce Tan Soo Yuen
Tan Tiat Hern David
Ahmed Bahajjaj
Juliana
Teo Xi Hui
Andre Gerard Ballesteros
Jun Shea
The CheuNgs
Audrey Phua
Justin Edward Chong
Thechanmaleechans
Barry & YT Clarke
Ken
Toh Wei Seng
Ben Veron
Kenneth Ong & Coral Yuen
Tok Li
Brian Selby & Angelina Chang
Koon
Tommy Koh
Caleb & Gayle
Kristy
Usha Joyrama & Samant Jain
Charmaine
Lance Lim
Venetia Shio
Cheng Yiling
Lau Chee Chong
Wang Wei-lung
Chiat Sian
Laura L
Wee Cathleen
Chin Jin Kiat
Lee Wen Long
Wen
Chloe Goh
Li Zhijing
Yap Zhi Jia
CHPY
Lionel Heng & Chen Weiling
Yong Hui Chua & Jia Qi Chua
Christopher Raj Rajadhran
Liwen & Joee
Zhenlin Lee
Clarence Ng
Lim Qian Ru
Cynthia
Lim Wei Ping
Cynthia Wong
Loh Soon Hui
D Cheong
Lone
Daniel Chai
Lynn
Dawn Seow
Mikail Kalimuddin
Denise Asmira
mOOn
Dennis
Nadia Ingrida
Desmond Ho
Nathan Ong
Dhiraj & Chloe
Ng Hian Hui
We would like to express our sincere thanks to all current and past Friends. We could not have done this without you. 35
UNDER
25 YOUTH FUND
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At Pangdemonium, the heart of our work is growing a vibrant theatre community— on stage, behind the scenes, and in the audience.
Under this scheme, eligible youths can purchase a ticket for just $25, thanks to the generous subsidies provided by donations from foundations.
The Under 25 Youth Fund provides affordable access to live theatre for young people aged 25 and below, ensuring that cost is never a barrier to experience the power of live theatre.
We are deeply grateful to the Shaw Foundation, Chew How Teck Foundation, and BinjaiTree Foundation for their support as we launch our final production, Come From Away.
SUPPORTED BY
UNDER 25 PARTNERS
OFFICIAL STORAGE
OFFICIAL WINE
LOVINGLY FED BY
PROUD PARTNER OF
OFFICIAL ARTS AND CULTURE MEDIA
Pangdemonium Theatre Company Ltd is supported by the National Arts Council under the Major Company Scheme. Come From Away is supported by the Cultural Matching Fund. 37
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