The company brings to the KL stage its fifth production of the Bard’s play, the Tragedy of Othello, but with its own abridged format. The guests tell about why this nearly 450 year old play continues to resonant even with a Malaysian audience.

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 A music theater/ cabaret plus comedy styled show, much like Forbidden Broadway or Broadway Backwards. The five of singer-performers--Joshua Gui, Kerry-Ann Khoo, Eunice Lew, Kellen Yau and Dennis Yeap--come together to share their awkward moments in life through songs and humor. The group gives pop songs and musical numbers a different spin, utilizing the group’s individual stories to give the songs new contexts.

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The young artist explains the impulse to paint animals and how even in this series of beastly beauty (or beautiful beasts) there is an evolution and a clarity of vision. His earlier works have white spaces, but details and color cover every inch of his later ones.

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The jazz singer is asked what it means to be described as a Chinese jazz singer. Does the adjective denote her nationality of culture? She provides and answer which points out that cultural roots cannot be ignored. The air we inhale, the language we speak, the traditional music we rub against with, eventually will seep into the things we do. Chinese jazz has Chinese culture. Just as Malaysian jazz has Malaysian aesthetics.

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The poet gives a history of his visual art practice and why he doesn’t do much drawing and painting as he did.  However, every now and then he is moved to express graphically, when words can’t quite express.  His exhibition at Xin Art Space, ends this weekend on Sunday.

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The cast tells about this David Mamet play which examines how to deal with life: stand on the sidelines and watch or pretend you’re not affected; or get down and dirty and deal with it. And facing up to the less than happy circumstances.

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Taking Shakespeare’s bloody Scotsman and dressing him and his lady in the traditional clothes of Chinese Opera. What does that do to the play? How are we informed differently, when witches are like ‘kwais’?

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Revisiting a musical and updating it to reflect the social questions and issues being faced. The producer also tells not only a brief history of ‘Uda dan Dara’ but of its various incarnations. The music director’s take on making the music contemporary.

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Performances that point out that being associated with hearth is to be associated with the fire that gives and shapes life. Not just in the domestic sphere but in the public domain. The performer-producer comments on bringing strong female characters to the stage.

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Helping take away the veil that cloaks contemporary art  in mystique, the educator provides some broad definitions and ways to interact with this art. She is a graduate from Christie's--the same auction house that specializes in art.

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