Family home, 18 months later Family home, one year later
COSTUME DESIGNER L.A.C
ASSOCIATE SOUND DESIGNER
TRACIE PANG & ADRIAN PANG PLAYWRIGHT STEPHANIE STREET
DIRECTED BY TRACIE PANG
PRODUCED BY
HAIR DESIGNER LEONG LIM
ASSOCIATE SOUND DESIGNER
NG
6 – 15 MARCH 2025
VICTORIA THEATRE
The duration of this performance is approximately 2 hours 15 minutes with 1 intermission.
Disclaimer: The views of the characters in this play do not reflect those of the management.
Well, not all of them, anyway.
In the midst of grief and upheaval, the characters in Force Majeure feel like fish out of water at home, listlessly longing for some past life, helplessly hoping for some alternate future, ceaselessly craving for something more, someone else, somewhere “over there”.
In stark contrast, through thick and thin, we feel that it has been an incredible privilege to live in, raise a family, make friends, make memories, and make theatre “ over here ”—this place we have gratefully called home for all these years.
Actually, this play was almost entitled Over There. But that felt a little prosaic for Stephanie Street’s reimagining of Anton Chekhov’s theatrical classic.
Hmmm, we said to ourselves, this piece deserves a bold title. Sexy. Intriguing. Forceful.
And so, Street replaced Over There with a sexy, intriguing, forceful title; a phrase that pretentious lawyers would use, and in French so it will probably be mispronounced in at least four different ways: Force Majeure
We even got a pretentious lawyer to define force majeure: meaning “superior force” in French, it is a contractual clause which essentially frees both parties from liability or obligation to act, when an extraordinary event or circumstance beyond the control of the parties, such as a war, strike, riot, crime, epidemic, an Act of God, or sudden legal change, prevents one or both parties from fulfilling their obligations under the contract.
We felt this to be an apt title for Street’s adaptation of Chekhov’s Three Sisters, because the eponymous three sisters’ (and their untitled brother’s) hopes, dreams, and desires are unfulfilled due to, yup, a force majeure.
Question: when life gives you lemons, do you pucker up ‘n’ suck ‘em up? Do you make lemonade? Do you crack open the vodka? Or do you, like the three sisters, say f**k lemons, I want oranges? (Also a good title.)
While mourning the passing of their father, the not-so-fantastic Force siblings are mentally, spiritually, and existentially at sea. Art is their means of expression, of escape, of catharsis, of comfort.
We at Pangdemonium are selfaware enough to know that it is a privilege to be artists. But we also believe that it is the right of everyone to have access to art, and that every 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 in times of turmoil, we all need a reminder that we are not alone, that it’s ok to not be ok, that everybody hurts sometimes, that you will be found. And maybe, just maybe, art has the power to do that.
So, if you are going through a dark time, we hope that this play offers you some light.
Many thanks to playwright Stephanie Street for pivoting off Chekhov’s classic tale to craft a piece for our times.
Lots of love to our brilliant cast, our wonderful creatives, and our fabulous production/technical/stage management teams for overcoming myriad force majeures to create this world for our four siblings.
Much gratitude to our Corporate Donors Alfa Tech VestAsia Pte Ltd and HCS Engineering Pte Ltd; our Supporters Holywell Foundation; our Under 25 Youth Fund Partners Shaw Foundation, Chew How Teck Foundation and BinjaiTree Foundation; our Official Storage Partner Storhub; our Official Wine Sponsor Dorothy's; and GRAIN who lovingly fed us. Thank you to all of our supporters and Friends of Pangdemonium for believing and journeying with us all these years.
And thank YOU, for being here.
Lots of love,
TRACIE PANG & ADRIAN PANG ARTISTIC DIRECTORS
Chekhov’s best plays and short stories lack complex plots and neat solutions. Concentrating on apparent trivialities and the mundanity of day-to-day life, they create a special kind of atmosphere, sometimes termed haunting or lyrical. Chekhov described the Russian life of his time using a deceptively simple technique devoid of obtrusive literary devices, and he is regarded as the outstanding representative of the late 19th-century Russian realist school.
He is known for the principle in drama called "Chekhov’s gun," which asserts that every element introduced in a story should be necessary to the plot, and he frequently illustrated the principle by using a gun as an example of an essential element.
Boyhood and youth
Chekhov’s father was a struggling grocer who compelled his son to serve in his shop, also conscripting him into a church choir, which he himself conducted. Despite the kindness of his mother, childhood remained a painful memory to Chekhov, although it later proved to be a vivid and absorbing experience that he often invoked in his works.
During his last three years at high school Chekhov lived alone and supported himself by tutoring younger boys; his father, having gone bankrupt, had moved with the rest of his family to Moscow to make a fresh start.
In the autumn of 1879, Chekhov joined his family in Moscow, which was to be his base until 1892. He enrolled in the university’s medical faculty, graduating as a doctor. As his father could obtain only poorly paid employment, Chekhov became unofficial head of the family, showing great reserves of responsibility and energy, cheerfully supporting his mother and the younger children through his freelance earnings as a journalist and writer of comic sketches.
Chekhov began his writing career as the author of anecdotes for humorous journals, signing his early work pseudonymously. By 1888 he had become widely popular with a “lowbrow” public and had already produced a body of work more voluminous than all his later writings put together. And he had, in the process, turned the short comic sketch into a minor art form. He had also experimented in serious writing, providing studies of human misery and despair strangely at variance with the frenzied facetiousness of his comic work. Gradually that serious vein absorbed him and soon predominated over the comic.
Literary maturity
Although Chekhov began concentrating on serious short stories, humour always remained an important ingredient.
By the late 1880s, many critics had begun to reprimand Chekhov, now that he was sufficiently well known to attract their attention, for holding no firm political and social views and for failing to endow his works with a sense of direction. Such expectations irked Chekhov, who was unpolitical and philosophically uncommitted.
Continuing his experiments as a dramatist, his Wood Demon is a long-winded four-act play, which somehow, by a miracle of art, became converted—largely by cutting—into Dyadya Vanya (Uncle Vanya), one of his greatest stage masterpieces.
1892–1898
After helping, both as doctor and as medical administrator, to relieve the disastrous famine of 1891–92 in Russia, Chekhov bought a country estate in the village of Melikhovo, south of Moscow.
Continuing to provide many portraits of the intelligentsia, Chekhov’s work provides a panoramic study of the Russia of his day, and one so accurate that it could even be used as a sociological source.
In some of his stories of the Melikhovo period, Chekhov developed the theme of figures who fail to realise their full potentialities. As those pleas in favour of personal freedom illustrate, Chekhov’s stories frequently contain some kind of submerged moral, though he never worked out a comprehensive ethical or philosophical doctrine.
Chayka (The Seagull) is Chekhov’s only dramatic work dating with certainty from the Melikhovo period. First performed in St. Petersburg in 1896, the four-act drama was badly received; indeed, it was almost hissed off the stage. Chekhov was greatly distressed and left the auditorium during the second act, vowing never to write for the stage again. Two years later, however, the play was revived by the newly created Moscow Art Theatre, enjoying success and helping to reestablish Chekhov as a dramatist. The Seagull is a study of the clash between the older and younger generations as it affects two actresses and two writers.
1899–1904
In March 1897, Chekhov had suffered a lung haemorrhage caused by tuberculosis, and was forced to acknowledge himself a semiinvalid. That was all the more galling since his plays were beginning to attract serious attention. Moreover, Chekhov had become attracted by a young actress, Olga Knipper, who was appearing in his plays, and whom he eventually married in 1901; the marriage marked the only profound love affair of his life. But since Knipper continued to pursue
This period saw a decline in the production of short stories and a greater emphasis on drama from Chekhov. His two last plays— Tri sestry (Three Sisters), first performed in 1901, and Vishnyovy sad (The Cherry Orchard), first performed in 1904—were both written for the Moscow Art Theatre. But much as Chekhov owed to the theatre’s two founders, Vladimir NemirovichDanchenko and Konstanin Stanislavsky, he remained dissatisfied with such rehearsals and performances of his plays as he was able to witness. Repeatedly insisting that his mature drama was comedy rather than tragedy, Chekhov grew distressed when producers insisted on a heavy treatment, overemphasising the—admittedly frequent— occasions on which the characters inveigh against the boredom and futility of their lives. Despite Stanislavsky’s reputation as an innovator who had brought a natural, non-declamatory style to the hitherto over histrionic Russian stage, his productions were never natural and non-declamatory enough for Chekhov, who wished his work to be acted with the lightest possible touch.
Insisting that his The Cherry Orchard was “a comedy, in places even a farce,” Chekhov offered in that last play a poignant picture of the Russian landowning class in decline, portraying characters who remain comic despite their very poignancy. The play was first performed in Moscow in 1904, and less than six months later Chekhov died of tuberculosis.
Though already celebrated by the Russian literary public at the time of his death, Chekhov did not become internationally famous until the years after World War I, by which time the translations of Constance Garnett (into English) and of others had helped to publicise his work. Yet his elusive, superficially guileless style of writing—in which what is left unsaid often seems so much more important than what is said—has defied effective analysis by literary critics, as well as effective imitation by creative writers.
Regarded by many as the playwright’s masterwork, Three Sisters—the third of Anton Chekhov’s four major full-length dramas—is his longest and most complex play. Chekhov’s contemporary Maxim Gorky memorably praised its initial production in 1901 as “music, not acting,” and considered Three Sisters the most profound and effective of Chekhov’s plays.
It is in many ways the archetypal modern drama that pioneered a new dramatic vision and method for the stage. Contemporary audiences and readers now familiar with the dramatic lessons of futility and frustrated expectations by such playwrights as Samuel Beckett, Harold Pinter and even Annie Baker, may overlook just how radical and trail-blazing Three Sisters was.
Begun around November Three Sisters would not be completed until January 1901. Interweaving the complex relationships of multiple characters over a number of years, the play is possibly the closest Chekhov ever came to writing with the scope and texture of a novel. is Chekhov’s version of the fall of the house of Atreus in which a family implodes, not as in Aeschylus’s tragedy from overt crimes and betrayals, but from the covert, from the subtle collusion of time, place, and human nature.
Set in a provincial backwater, Three Sisters focuses on the Prozorov family—sisters Olga, Masha, and Irina and their brother, Andrei—who have settled there from Moscow when their widowed father, a Russian general, was put
Only Irina remains hopeful and committed to achieving a new purposeful life while holding true to the dream that has sustained them all for more than a decade: getting back to Moscow.
The play reveals, indirectly by innuendo and symbol (such as constant reference to time), a spent family group in which the old values and prospects no longer sustain them. The sisters and their brother have been raised to a level of cultural refinement that their tawdry provincial environment neither values nor shares. The Prozorovs are shown to be incapable of adapting to their altered circumstances.
In this play, Chekhov, through his group of protagonists and integration of surface detail and symbol, had discovered a powerful means of dramatising interior drama just below the surface of the routine and ordinary. By doing so, Three Sisters fundamentally challenged the accepted stage assumptions of its day,
I first encountered in 2003, aged 26, at the National Theatre in London.
The production was by Katie Mitchell, the aesthetic was late-Victorian: women in Russia in 1900, the time
STEPHANIE STREET PLAYWRIGHT
SELMA ALKAFF
Selma graduated from the Royal Central School of Speech & Drama BA Acting course. Her theatre credits include Bull (Wild Rice); Dragonflies (Pangdemonium); Circle Mirror Transformation (Pangdemonium); Ma’ma Yong – About Nothing Much To Do (Esplanade); The Cave (The Twenty Something Theatre Festival); Bunny Finds the Right Stuff (Esplanade) and Macbeth (Singapore Repertory Theatre). Screen credits include MindBlown! (CNA); Birthday Boy (NFTS) and A Bloody Wet Mess (NSFTV). Video game credits includes Unknown 9: The Awakening (Reflector Entertainment). Selma wrote and acted in Batu, part of Centre 42’s Sound Plot series.
KEN / THEO
Benjamin has performed, notably, as ‘Buddy Levaco’ in Kimberly Akimbo, ‘The Baker’ in Into The Woods, 'Mark' in RENT, ‘Bobby Strong’ in Urinetown, ‘Smee’ in Peter & the Starcatcher, 'Benmin' in Tango (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), 'Mitchell' in Tuesdays With Morrie 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 working Voice Over professional whose audiobook work on titles such as Fox Fire Girl, Ten Things My Father Never Taught Me and The New Singapore Horror Collection, among others, can currently be found on Storytel.
LEAH
BENJAMIN CHOW
INCH CHUA
MARY
Born in Singapore, educated in Fine Arts, and inducted into the music industry in Los Angeles, Inch is an international awardwinning multi-disciplinary artist. Theatre credits include: '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); Songs for Tomorrow (Dramabox); Not in My Lifetime (The Finger Players). She created 'Til the End of the World, We'll Meet in No Man's Land (Theatreworks).
Awards include the National Youth Award (2018), Straits Times Life Theatre Awards Best Sound (2020), Artistic Excellence Award at the 26th Annual COMPASS Awards and Woman of the Future Award (2024). Inch is currently developing a new
REBECCA ASHLEY DASS
IRENE
Rebecca is an actor for theatre, television, film and voiceover work. Her recent productions include Hotel; The Wizard of Oz (Wild Rice), A Doll’s House, Part 2; Falling (Pangdemonium), The Three Billy Goat’s Gruff; The Cat in the Hat (Singapore Repertory Theatre), and Playing With Fire (Checkpoint Theatre), just to name a few. Rebecca credits her accomplishments to her family, beloved feline and friends for their unwavering support.
SHARDA HARRISON
NAT / VIC
Sharda Harrison is an actor based in Singapore—working across theatre, film/ documentary, and live public dialogue. Her practice is grounded in embodiment.
Trained at LASALLE (BA (Hons) Acting; MA Arts Pedagogy & Practice), Sharda is drawn to stories and conversations where the stakes are real—people, place, identity, resilience, and the future of planet and people. On screen, she has hosted documentary work for Channel NewsAsia and performed in drama for Mediacorp; on stage, she is known for rigorous and vulnerable work. In 2024, Sharda won ‘Best Actress’ at the Life! Theatre Awards for her role in Pangdemonium’s People, Places and Things directed by Tracie Pang. In May 2026, Sharda will be launching her new series of acting, sound and movement classes, ‘Embodied Learning Studios’ aimed at nourishing human beings through theatre. Sharda always looks forward to returning to Pangdemonium which has in recent years, begun to feel like home.
BENJAMIN KHENG
ANDREW
Benjamin is a Singapore-based actor and musician, and a reformed (but occasionallyrelapsing) pop artist. He is a former nominee for MTV EMA’s Best Southeast Asian Act and winner of the Youth Music Awards’ Best Single (2021). Most recently, he penned and performed the 2024 National Day Song, Not Alone.
His screen acting credits include the biopic film Wonderboy; The Breakup List (Raindance Film Festival nominee); FAM! (International Emmy nominee); and The Last Bout (Asia Contents Awards nominee). His stage credits include The Emperor’s New Clothes (Wild Rice) and Fun Home (Pangdemonium).
He is the creator and director of sketch series The Benzi Project and The Ann & Ben Show, and has also served as a screenwriter and music composer across various film projects.
He is walked daily by his dog, Bailey.
PERCUSSIONIST / STUDENT / COURIER / MOVER
Marc is a multi-instrumentalist currently majoring in drums at LASALLE College of the Arts. His work spans rock, alternative, metal, and pop. He has performed with a variety of bands, including The Next Exit, Lies Upon Death, Lost Echo, Stoneship Sailors, and Minimum Wage,
EBI SHANKARA
CHARLIE / JOHN
Shankara graduated from the Nanyang Academy Of Fine Arts in 2008 with a Diploma and from University of Essex in 2012 with a First Class Honours Degree in Acting. Some of his acting credits include Cinderel-LAH! and Oi! Sleeping , as well as ‘Horse’ in Pangdemonium’s The Full Monty, ‘Krishna’ in Army Daze The Musical and Brown Boys Don’t Tell Jokes. He is best remembered for playing ‘Vinod’ in The Finger Players’ restaging of Haresh Sharma’s and ‘Kenneth Bala’ on hit TV Shankara is proudly represented
MARC MONTEIRO
Creatives
TRACIE PANG
DIRECTOR
Tracie trained at Croydon College, London, and has clocked up more than 35 years working in theatre throughout the UK and Asia. In Singapore, she set up The Little Company, for whom she wrote and directed numerous productions for children aged 3 –14. She was Associate Artistic Director for Singapore Repertory Theatre from 2006 – 2010.
In 2010 Tracie founded Pangdemonium Theatre Company with her husband Adrian. At the Straits Times Life Theatre Awards, she won the Best Director Award for Pangdemonium’s Falling (2016), and received nominations for Pangdemonium’s The Full Monty; Dealer’s Choice; Rabbit Hole; Next to Normal; Fat Pig; Tribes and Dragonflies, and also for SRT’s The Dresser; The Snow Queen and The Pillowman.
Other productions she has directed for Pangdemonium include Closer; Spring Awakening; Swimming with Sharks; Gruesome Playground Injuries; The Rise & Fall of Little Voice; Frozen; Circle Mirror Transformation; Chinglish; The Effect; Rent;
The Pillowman; Tango; Fun Home; The Father; Peter and the Starcatcher; Late Company; This is What Happens to Pretty Girls; Urinetown: The Musical; The Son; Girls and Boys; The Mother; The Glass Menagerie; End of the Rainbow; People, Places & Things; Into the Woods, Falling (2024), the Southeast Asian premiere of Dear Evan Hansen, and Kimberly Akimbo.
Tracie was awarded the 2015 AWA International Woman of the Year for The Arts, and the 2017 Women’s Weekly “Great Women of our Time” Award for Media and the Arts.
TIMOTHY KOH
ASSISTANT DIRECTOR
Tim’s early career was spent assistant directing and in fellowship at some of New York City’s most prestigious nonprofit theatres, such as Lincoln Center Theater, Manhattan Theatre Club, and Playwrights Horizons.
Since 2022, Tim has served as Associate Director of Pangdemonium Theatre. For the company, he’s directed Singapore, Michigan, Who’s Afraid of Virginia Woolf?, Doubt: A Parable, and Muswell Hill. At the Life Theatre Awards, his work has been nominated for Production of the Year and Best Director, among others. Selected Assistant Director credits include the Southeast Asian premiere of Dear Evan Hansen, Into the Woods, and Kimberly Akimbo.
Training: New York University Tisch School of the Arts (BFA Theatre), College of Arts and Science (BA English and American Literature).
STEPHANIE STREET
PLAYWRIGHT
Born and raised in Singapore, trained in the UK (Cambridge University and LAMDA), Stephanie’s writing for theatre includes: Dragonflies for Pangdemonium (Winner –Straits Times Life Theatre Award 2018 for Best Original Script); Sisters at Sheffield Crucible; The Reluctant Fundamentalist at The Finborough and Summerhall (Longlisted – Amnesty International Freedom of Expression Award; Winner –Best of Edinburgh Award).
This August, her new play, a small and quiet light, plays at The Minerva, Chichester and The Orange Tree, London.
Stephanie has acted on the UK’s main stages from The National Theatre (Nominated – Whatsonstage Award for Best Solo Performance for Nightwatchman) to the West End. This Spring, she joins the Series 2 cast of Netflix hit, A Good Girl’s Guide to Murder and the muchanticipated ITV miniseries, The Lady.
Stephanie is EDI lead on the Board of Chichester Festival Theatre and is a regular contributor to The Stage, the UK’s oldest theatre publication.
EUCIEN CHIA
SET DESIGNER
Eucien is a long-time Pangdemonium collaborator, having designed over twenty of their productions since 2011 including Kimberly Akimbo; Dear Evan Hansen; Doubt; The Glass Menagerie; The Mother; Urinetown; and Spring Awakening.
Accolades: ST Life Theatre Awards Best Set Design winner for The Almighty Sometimes (Singapore Repertory Theatre); Company (Dream Academy); Dealer's Choice (Pangdemonium); December Rains (Toy Factory).
Original creative team for new commissioned works: Singapore, Michigan (Pangdemonium); Kingdoms Apart; A Good Death (Esplanade); The Commission (SIFA); Normal (Checkpoint); H is for Hantu (STAGES); A $ingapore Carol; The Emperor’s New Clothes (Wild Rice); Sleepless Town; Shanghai Blues (Toy Factory).
Selected design credits: Cinderella (Singapore Ballet); Falling (2024); Into The Woods; RENT; This is What Happens to Pretty Girls; End of the Rainbow; The Pillowman (Pangdemonium); La Cage Aux Folles (2017); Boeing Boeing (2017)(Wild Rice); Sing To The Dawn (I-Theatre); Tick, Tick... Boom! (Sight Lines).
Eucien thanks God for his amazing family.
JAMES TAN
LIGHTING
DESIGNER
James Tan (Pangdemonium’s Associate Artist/ Independent Lighting Designer) was conferred The Young Artist Award and awarded Arts Professional Scholarship by The National Arts Council of Singapore. He graduated with a Master of Fine Arts in Lighting Design, University of California San Diego.
Selected Theatre Lighting Design Credits: The Glass Menagerie, Dragonflies & Next to Normal (Pangdemonium), The Wizard of Oz, National Day Charade & Merdeka (W!ld Rice), 2:22 – A Ghost Story & Disgraced (Singapore Repertory Theatre), Lord of the Flies (Blank Space Theatre with Sightline Productions) and Stream of Memory (An Esplanade Commission and Production with Papermoon Puppet Theatre, Indonesia). Selected Events Lighting Design: National Day Parade 2022 (Defence Science and Technology Agency), From Singapore to Singaporean: The Bicentennial Experience (Singapore Bicentennial Office), OCBC Garden Rhapsody: Rainforest Orchestra – Asia & Australia Edition (Gardens By The Bay) & The Art of the Brick® Exhibition by Nathan Sawaya (MBS ArtScience Museum). Selected Public Artwork: Yellow (Public Art Trust –Rewritten: The World Ahead of Us).
JING NG
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 fosters future practitioners in developing a deeper understanding of sound in various artistic mediums and discovering the infinite possibilities of sonic arts.
He was nominated for Best Sound Design in the 2014 Off West End Theatre Awards; and nominated for the 2018, 2022 – 2025 Singapore Straits Times Life Theatre Awards—winning the 2025 edition. Jing is currently developing future iterations of his installation work – Distance Makes The Heart Fonder.
Audio Portfolio: www.soundcloud.com/ jingsound
LEONG LIM
HAIR DESIGNER
Leong Lim is a Singaporebased hairstylist specialising in stage and performance work. Trained in both classic and contemporary hairstyling, he began his career during the 90’s in salons before finding his true calling in theatre, where hair design becomes an essential part of storytelling.
His stage credits include: Hard Mode; Escape to Batam (Checkpoint Theatre), Who’s Afraid of Virginia Woolf?; Into the Woods; A Doll’s House, Part 2; and multiple productions with Pangdemonium. Known for precision, adaptability, and a collaborative approach, Leong creates looks that not only reflect character but also withstand the demands of live performance, from movement and quick changes to the rigours of stage lighting.
From period wigs to bold, modern designs, his work enhances both performance and narrative. Today, Leong is recognised as a trusted specialist in stage hairstyling, bringing artistry and craft to Singapore’s theatre scene.
CAST (IN ALPHABETICAL ORDER)
Leah
Ken / Theo
Mary
Irene
Nat / Vic
Andrew
Percussionist / Student /
Courier / Mover
Charlie / John
CREATIVE TEAM
Director
Assistant Director
Playwright
Set Designer
Associate Set Designer
Lighting Designer
Sound Designer & Composer
Associate Sound Designer
Associate Sound Designer
Costume Designer
Hair Designer
PRODUCT
SELMA ALKAFF
BENJAMIN CHOW
INCH CHUA
REBECCA ASHLEY DASS
SHARDA HARRISON
BENJAMIN KHENG
MARC MONTEIRO
EBI SHANKARA
TRACIE PANG
TIMOTHY KOH
STEPHANIE STREET
EUCIEN CHIA
SCOTT LEE
JAMES TAN
JING NG
JEAN YAP
RYAN NG
L.A.C
LEONG LIM
ION & STAGE MANAGEMENT TEAM
Production Manager
Production Manager
Stage Manager
Assistant Stage Manager
Assistant Stage Manager
Technical Manager
Props Master
Props Assistant
Costume Coordinator
Dresser
Sound Operator No. 1
Lighting Board
Programmer
Hair Assistant
Production Apprentice
Accessible Performances
Consultant
Captioning Operator
OTHMAN M. YUSOF
LEAH SIM
KOH YI WEI
SHARLENE LIM
ZAI
NUR ALIFF
DANIEL SIM
SHAWNE KHO
YZELMAN
TAN JIA HUI
RILLA DJONO
YAT
WEE (CTRL FRE@K)
KAREN NG
PEARLIN CHEW
SEKERCIOGLU
GRACE LEE-KHOO
(ACCESS PATH
PRODUCTIONS)
JANSEN NG
TEAM THE
PANGDEMONIUM TEAM
Artistic Director / Managing Director
Artistic Director / Producer
General Manager
Associate Director
Production Manager
Associate Production Manager
Company Stage Manager
Marketing Manager
Marketing Executive
Relationship Manager
Ticketing Manager
Admin & HR Manager
Accounting Manager
Marketing Assistant
Production Apprentice
Ticketing & Customer Service Associate
Ticketing & Customer Service Associate
Associate Artist
TRACIE PANG
ADRIAN PANG
RENEE TAN
TIMOTHY KOH
LEAH SIM
OTHMAN M. YUSOF
KOH YI WEI
KRISTAL ZHOU
QIANG QIAN TAN (QQ)
GUINEVIERE LOW
MICHELLE SEETOH
HILMI SHUKUR
MARIEM TOUAHRIA
VANESSA MOSTAFA
PEARLIN CHEW
SEKERCIOGLU
TAN YONG XUAN
NG JAELYN
JAMES TAN
PANGDEMONIUM BOARD
JOHN CURRIE
DR. JADE KUA
JACQUELINE CHAN
HANMING WANG
BEATRICE CHIA-RICHMOND
TRACIE PANG
ADRIAN PANG
TRIPLE THREATS
Our long-running Triple Threats programme is designed for youths who are interested in the art of musical theatre.
The programme imparts fundamentals of storytelling through music, expression through song, vocal instruction, and movement. They will have the opportunity to participate in a special performance at the end of the programme.
Our alumni have gone on to perform in professional productions such as Six: The Musical, Fun Home, Miss Saigon Vienna, The Great Wall Musical, and My Neighbour Totoro.
This year, we are presenting the Tony-nominated and 2019 Drama Desk Award Winner for Outstanding Musical, The Prom, starring youths aged 13 to 21.
Our workshop is open to the public. The performance will take place on 4 and 5 July 2026. Watch our socials for more information.
14 to 21 formed a company and performed a fully staged play.
VYC will not return in 2026. Our final batch performed 12 Angry Jurors in December 2025. and in the audience.
The Under 25 Youth Fund provides affordable access to live theatre for young people aged 25 and below, ensuing that cost is never a barrier to experience the power of live theatre.
Under this scheme, eligible youths can purchase a ticket for just $25, thanks to the generous subsidies provided by donations from foundations. We are deeply grateful to the Shaw Foundation, Chew How Teck Foundation, and BinjaiTree Foundation for their support as we launch the first production of our 2026 Season, Force Majeure.
If the Under 25 Youth Fund speaks to your heart, we invite you to be part of this journey.
For more information, please contact guineviere@pangdemonium.com.
Thank you for being our friends!
WHITE KNIGHTS
Alfa Tech VestAsia Pte Ltd
Shaw Foundation
WINGED CRUSADERS
Holywell Foundation
HCS Engineering Pte Ltd
Jacqueline Ho, Esq.
The Diana Koh Foundation
The Grace, Shua and Jacob Ballas II Charitable Trust
CRUSADERS
BinjaiTree Foundation
Chew How Teck Foundation
Dharmendra Yadav
Irene Wee & Wee Chwee Heng
Piyush Gupta
Valerie Velasco, Esq.
SUPERHEROES
Adeline & Timothy
Clarence & Amelia
Desmond & May Lim
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
Thang Chang King
HEROES
Amith Narayan
Agnus
Capt. Rahul & Smita Choudhuri
CK & Sylvia
David & Thuan Forrester
Dr Irene Lim & Prof David Stringer
Dr Lena Lee
Jacqueline Chan
James & Rebecca Orme
John Currie & Hong Sun Chee
Katherine A Krummert & Shawn Galey
Kelvin, Kayla & Natasha
Ken Cambie & Shou Sen Cheam
Kok Aun Koh
LAKE
Mr & Mrs Victor and Michelle Sassoon
Phil Hardman
Rachel & Wen Juin
SL Chan
CHAMPIONS
Aileen Tang
Ajai Kaul
Ajit Nayak & Subhadra
Sethuraman
AK & SC
Alois Schiessl
Angela Yap
Anjali Kuperan & Adrian Allen Joseph
Audrey Chng
Ben, Sharon, Goku & Bulma Low
Berlinda Gooi & Frank Schuurmans
Bernice & Alzone Ang
Beth Hollahan
Charles Koh
Chewng Wen Zhao
Christopher Pang
Claire McColl
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
Joanne Pek
Karin Lai
Kelvin Tan & Sandy Chan
Kevin Ong SH
Low Eng Teong
Lynce Tan
Magnus Edison Tan
Matt Wong
Matthew Flaherty
Mattopher
Melanie Tan
Michael Wong
Michelle Shek & Harry Brilliant
Mingcheng Lim
Ng Yichun
Nithia Devan
Ojas Nitin Doshi
Ong Pei San
Pang Siu Mei
Pauline Lim
Pierre Colignon
Rita E Silver
Ronald & Janet Stride
Saahil & Divya Patel
Sabrina Soh
Sandra Gwee
Sardool Singh
Sehr & Ashnil Dixit
Sharon Tan
Susan Sim
Suzanne Lim
Tanya Tan
Thara Gopalan
Toh Bao-En
Vanessa Seah
Wilhem Lee
Wu Peihui
Yvonne Soh
Zhiyan & Hwee Yong
PANGDEMANIACS
A & D
AB & J
AC
Adrian Toh
Ahmed Bahajjaj
Andre Gerard Ballesteros
Audrey Phua
Barry & YT Clarke
Ben Veron
Brian Selby & Angelina Chang
Caleb & Gayle
Charmaine
Cheng Yiling
Chiat Sian
Chin Jin Kiat
Chloe Goh
CHPY
Christopher Raj Rajadhran
Clarence Ng
Cynthia
Cynthia Wong
D Cheong
Daniel Chai
Dawn Seow
Denise Asmira
Dennis
Desmond Ho
Dhiraj & Chloe
Doreen Quiaoit
Dr Francis Chin
Dr Teo Kien Boon
Edwin Tan
Eugene Ang
Ferlicia Ma
Geoffrey Baker
Goh Siu Kiat (SK)
Gunjali
Hasan Orkan Akcan
HL
Isabel Ong
Jacq & Fel
Jane Hayes
Janice Goh
Janice Low
Jason Chee
Jennifer King
Joel Loong
Jolyn Moh
Jolyn Teh
Jorin Ng
Joyce Tan Soo Yuen
Juliana
Jun Shea
Justin Edward Chong
Kairos Integrated Food
Solutions Pte Ltd
Ken
Kenneth Ong & Coral Yuen
Koon
Kristy
Lance Lim
Lau Chee Chong
Laura L
Lee Wen Long
Li Zhijing
Lionel Heng & Chen Weiling
Liwen & Joee
Lim Kee Tin
Lim Qian Ru
Lim Wei Ping
Loh Soon Hui
Lone
Lynn
Mikail Kalimuddin
mOOn
Nathan Ong
Ng Hian Hui
Ng Yew Hoon
Nguyen Trung Huan
Nicolas Fanchon
Nigel Ng
Ong Ai Ghee
Ong Hwee Suan
Paul Gosling
Preston Soh
Rainnie Zhou
Ramesh Shahdadpuri
Rose Ann Ferrer Tenorio
S Wun
Sarah Mei Ismail
Sebastian
See Kuo Min Matthew
Sera Foo
Serene Thain
Shanti & Rajesh Achanta
Siok Chen
Steven Wong
Suen JM
Sze Shiang
Tamara & Cara Chang
Tan Hian Hong
Tan Siong Min Benjamin
Tan Tiat Hern David
Teo Xi Hui
The CheuNgs
Thechanmaleechans
Tng Hui Boon
Toh Wei Seng
Tok Li
Tommy Koh
Usha Joyrama & Samant Jain
Venetia Shio
Wang Wei-lung
Wee Cathleen
Wen
Yap Zhi Jia
Yong Hui Chua & Jia Qi Chua
Zhenlin Lim
We would like to express our sincere thanks to our new Friends who made their kind donations after this list went to print.
us going as a theatre company.
Even as Pangdemonium journeys through our final year, we graciously welcome every donation until 31 August –every single cent goes directly into producing our Finale Season to the very highest standards that we have always held ourselves to. As a registered charity, if there are any surplus funds at the end of our Season, they will go
Finale 2026 season, please scan the QR code above.
On behalf of the Pangdemonium family, for your faith, patronage and friendship, we THANK YOU. See you at the theatre and beyond, and we wish you ass-kicking adventures in life.
Sincerely,
IAN & TRACIE PANG ARTISTIC DIRECTORS
(UEN.: 201229915M). Donations above $50 entitles you to a tax deduction 2.5 times the value of your donation.
Donate today at giving.sg/organisation/profile/ pangdemonium
For more information, please visit pangdemonium.com/support-us/fop, or write to fundraiser@pangdemonium.com.
Corporate Giving — Sponsorship & Donations
Be a valued partner of Pangdemonium and join us in sharing the power of live storytelling with audiences from all walks of life.
CORPORATE SPONSORSHIP
Our corporate donors and sponsors receive exclusive opportunities and entitlements such as:
•
Brand exposure: acknowledgement and mentions across Pangdemonium’s publicity channels,
•
Hospitality opportunities: such as hosting your guests at Pangdemonium’s productions,
•
Tax benefits: as a registered charity with IPC status (UEN No.: 201229915M), cash donations above $50 are eligible for a 250% tax deduction.
IN-KIND SPONSORSHIP
Working with corporate partners on in-kind sponsorship arrangements helps us cover our production’s costs, while offering our corporate partners the opportunity to showcase their products and services.
Current and recent partners include airlines, hospitality groups, food and beverage and storage solutions partners.
We are extremely grateful to companies such as Alfa Tech VestAsia Pte Ltd HCS Engineering Pte Ltd standing with us in solidarity.
Tracie and Adrian would like to say a big thank you to the following for creating further pangdemonium with us on our production of FORCE MA J EURE .
CORPORATE DONORS
PROUD
Pangdemonium Theatre Company Ltd is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2023 to 31 March 2026.
Force Majeure is supported by the Cultural Matching Fund.
“UNMISSABLE, EXTRAORDINARY, WILL SEND AUDIENCES OUT EITHER RAGING OR INVIGORATED.” – THE GUARDIAN
