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ANNEX 1 MOBILE DIRECTORS’ PROFILE Alvin Tan Alvin is the Founder and Artistic Director of the Necessary Stage (TNS), as well as the Co-Artistic Director of the M1 Singapore Fringe Festival. Under Alvin, TNS has grown from a society in 1987 to one of Singapore’s most prominent and respected theatre companies. He initiated the Company's Theatre For Youth Branch, the annual M1 Theatre Connect and the Marine Parade Theatre Festival. He has a BA from the National University of Singapore, a Diploma in Education from the Institute of Education, and an MA from the University of Birmingham. One of the leading proponents of devising theatre in Singapore, Alvin has directed more than 40 plays, which have been staged locally and at international festivals in Glasgow, Cairo, Busan, Seoul and Melbourne. Some of these landmark productions include Lanterns Never Go Out, Still Building, Pillars, Galileo, Koan and godeatgod. In 1997, Alvin was awarded a Fulbright Scholarship. The following year, he was conferred the Young Artist Award by the National Arts Council. Alvin is also strongly involved in civil society work, representing Singapore in numerous conferences and workshops around the world. He was also invited to participate in the World Culture Forum Alliance in Sao Paolo and the Conference of Asian Foundations and Organisations in Barcelona. Most recently, Alvin participated in Res Artist ‘05 in Berlin, as well as the World Culture Forum in Jordan. Tatsuo Kaneshita Born in 1964, Tatsuo Kaneshita was a member of the theatrical troupe, The Youth Theatre, before launching his own company, THE Gazira, in 1987. He has produced many works as playwright and producer. Among the awards he has received are the Minister of Education Award for Emerging Artist, the Kinokuniya Drama Prize in the Individual Category, and the Grand Yomiuri Drama Award. ANNEX 2 MOBILE HEAD WRITER’S PROFILE Haresh Sharma Haresh is Resident Playwright of The Necessary Stage, as well as the Co-Artistic Director of the M1 Singapore Fringe Festival. To date, he has written more than 50 plays which have been staged in Singapore, Glasgow, Birmingham, London, Dublin, Cairo, Melbourne, Busan, Seoul and New Delhi. Haresh has a BA from the National University of Singapore as well as an MA in Playwriting from the University of Birmingham, obtained in 1994 on a Shell/NAC Scholarship. He has also been awarded fellowships and grants by the British Council, the United States Information Service and Asia-Europe Foundation, and was conferred the Young Artist Award in 1997. He has two published collections of plays - ‘Still Building’ (awarded the Singapore Literature Prize and the Singapore Book Prize) and ‘This Chord and Others’. Another play, Off Centre, was published by Ethos Books in 2000. His play Koan premiered at the 2003 Asia Theatre Festival in Busan(Korea). Other recent works include Such Sweet Sorrow, the anchor production of M1 Theatre Connect, as well as the reworked Mardi Gras and its spin-off Top Or Bottom, all in 2004. His play, What Big Bombs You Have!!!, premiered at the inaugural M1 Singapore Fringe Festival 2005 to critical acclaim. Since 2003, Haresh has been participating in a new collaboration among Southeast Asian theatres, spearheaded by Setagaya Public Theatre in Tokyo, Japan, which recently culminated in the production Hotel Grand Asia. His most recent plays were Boxing Day: The Tsunami Project and Separation 40, staged in May and September 2005 respectively. 2 ANNEX 3 MOBILE PERFORMERS’ PROFILE Reina Kakudate – Japan Reina joined Seinendan in 1994. She has appeared in many of Seinendan’s productions, which are written and directed by Oriza Hirata: such as SKogen Kara (From S Plateau, 1994) and Tokyo Notes (Tokyo Notes, 1998, 2002, 2004). She has also appeared in Nous les heros (1999), written by Jean-Luc Legarce and directed by Frederic Fisbach, and Three Sisters (2003), directed by Motoi Miura. Tetsuya Kataoka – Japan Tetsuya learned acting at the Actor's School of The Black Tent Theater (BTT), after graduating from high school. In 1998, after finishing BTT's school, Testuya joined The Black Tent Theater (BTT) as an apprentice and became a formal member in 1999. In 2000, he appeared in the Kuo Pao Kun's play The Silly Little Girl and The Funny Old Tree for the Asia Arts Festival, which was sponsored by the Japanese Cultural Affairs Agency. Other than BTT performances, Tetsuya attended workshops with PETA, The Philippines, VIVADI, India, and NOTTLE, Korea. Rody Vera – The Philippines Rody has written more than 20 original plays, and has adapted and translated various plays into Filipino. He is also a singer and performer. Formerly Artistic Director of PATATAG singing group and Musical Director to some of its album recordings, as well as Artistic Director of PETA, he has appeared in some musicals and films, notably Sister Stella L. and the musical 1896. His plays include Kung Paano Ko Pinatay si Diana Ross (2nd Prize, Carlos Palanca Memorial Awards), Balangiga (2nd Prize, Carlos Palanca Memorial Awards), Luna: Isang Romansang Aswang (1st Prize, Carlos Palanca Memorial Awards) and Dreamweavers (2nd Prize, Carlos Palanca Memorial Awards). He has also written plays that were performed by PINTIG cultural group, a Fil-American theatre group based in Chicago: Sky Legends ( 3rd Prize, Palanca Memorial Awards) and The Bells of Balangiga, a musical. Senyor Paciano, Rody’s first film script, won 2nd Prize in the National Centennial Literary Awards in 1998. Rody has travelled extensively in North America, Europe and Asia, teaching and performing drama. He was recently awarded the Bellagio Study Grant by the Rockefeller Foundation. Rody was last seen on stage in Mardi Gras (2004) and Top Or Bottom (2004) by The Necessary Stage. Mailes Angeles Kapani – The Philippines Mailes is a free-lance actor for stage, television, and film. Her most recent theater productions are Sepharad, Voces de Exilo for Dulaang Unibersidad ng Pilipinas, Unravel Noh with Noh Master Umewake Naohiko and the Cultural Center of the Philippines, No Exit with director, Abdel Langit, Philippine Bedtime Stories with the Rinkogun Theater Company in Tokyo, and various plays from classical to the absurd with Tanghalang Pilipino. She is also a voice actor for foreign soap operas. Jarunun Phantachat – Thailand Jaa is a founding member of international theatre ensemble International WOW Company. She begun her acting in the company’s first production, Wow!. She has also appeared in PUSH, Stairway to the Stars and Death of Nations. Jaa was also the assistant director of Project 304, a non-profit art organisation. She co-founded b-floor 3 Theatre with a group of designers, actors and directors, in 1999. The theatre group experiments with the expressive abilities of the human body to develop non text-based action and situation. Jaa also coordinated the Bangkok Theatre Festival in 2003. In April 2005, she was a project director between b-floor and Theatre Company Nottle (Korea) in Wonju, South Korea. The project was supported by Arts Network Asia. Jaa performed with The Necessary Stage for Boxing Day, which was staged in May 2005. Narumol Thammapruksa – Thailand Born in Bangkok, Thailand, Narumol is known as an actress, dancer and director of contemporary theatre. Based in the old city of Chiang Mai, northern Thailand, she grew up in a very strong arts and cultural community, and trained on her own supported by teachers and friends. Narumol has used her community skills as a volunteer for many organizations particularly with empowering women and children, and with AIDS patients and prostitutes for three years. In 1996, she was co-founder of The International WOW Company focusing on intercultural exchange. With Thai, Indonesian, American, Taiwanese and Japanese actors, the WOW Company created eight plays in three years, post-modern style, using dance as well as theatre in each piece. She was selected by the Japan Foundation to participate in the Japan-Thailand collaboration drama entitled “Akaoni” with Japanese director Noda Hideki, co-organised “World Artists for Tibet” in Thailand, and continues her work on Tibet as a writer and social arts activist. She was previously awarded a grant from Asian Cultural Council to study theatre and dance in America. Narumol is currently working on projects for Art Network Asia. Pradit Prasartthong – Thailand Pradit was trained in Thai classical dance, drama, singing and body music in Thailand. His current area of emphasis is community theatre. He is the director of The Grassroots Micromedia Project (MAKHAMPOM Theatre Group) in productions that address the needs of community cultural development, working with children and youth from the village or urban poor. The group builds grassroots links with communities through theatre workshop programs. The workshops are often complemented by theatre productions, training and information activities and address issues AIDS and drug abuse. His company has toured Thailand, England, Germany and Australia. Aidli ‘Alin’ Mosbit - Singapore Aidli ‘Alin’ Mosbit has acted in numerous productions for The Necessary Stage including Off Centre, Sing Song, The Exodus, Pillars, Rosnah, 1+1=3, Don’t Say I Say and Sing Song. She has also devised, written and directed her own plays including Ikan Cantik, …Dan Tiga Dara Terbang Ke Bulan (chosen to represent Singapore at the Cairo International Festival of Experimental Theatre), Kosovo and Lintasan (commissioned by Action For Aids Singapore for World Aids Day 1994). Kosovo and …Dan Tiga Dara Terbang Ke Bulan won the Commendation Prize in 1995 and 1997 respectively at the Literary Awards, presented by the Singapore Malay Language Council. In 2003, together with writers, Aidli published an anthology of plays in the book, ‘BISIK’. December 2003 saw her devising, writing and directing actress Molizah Mohd Mokter in La Libre Latifa, a one-woman play showcased in the Pesta Raya 2003 programme commissioned by the Esplanade – Theatres on the Bay. She was last seen in The Necessary Stage’s godeatgod (2004), which was recently performed at the Sibiu International Theatre Festival in Romania, What Big Bombs You Have!!! for the M1 Singapore Fringe Festival 2005, Boxing Day: The Tsunami Project and Separation 40, a collaboration between The Necessary Stage and Malaysia’s Dramalab. 4 Chua Enlai - Singapore Enlai is an established actor in the local theatre industry, with credits including W!ld Rice’s Oi Sleeping Beauty!, Cinderellah!, The Visit, Aladdin, TheatreWorks’ Shanty – Follow That Dream, Action Theatre’s Shakespeare’s R & J, Singapore Repertory Theatre’s The Morning People, Toy Factory Theatre Ensemble’s Bent and Spell #7’s 7x7 and Various Gangsters. At the 2002 DBS Life! Theatre Awards, Enlai was named Best Actor for his performance in Mark Ravenhill’s Shopping & F***ing. In the same year, his work in Plunge, directed by Krishen Jit, earned him a nomination for Best Supporting Actor. Enlai was also seen in The Necessary Stage’s What Big Bombs You Have!!!, for the M1 Singapore Fringe Festival 2005, as well as Separation 40, a collaboration with Malaysia’s Dramalab. Enlai was last seen on Channel 5 in My Sassy Neighbour and has taken on various television roles in programmes including Chase – Blueprint, The Odd Squad, The Big Buffet, Phua Chu Kang, Daddy’s Girls, and Xena: Warrior Princess. He is also a popular Kids Central host, known for programmes like Hobby TV, Jobs for Juniors, Science Guy PI and Look Who’s Leading. Enlai is a proud member of the Association of Singapore Actors and is represented by Fly Entertainment. 5 ANNEX 4 MOBILE CAST LIST Conceived by Alvin Tan (Singapore) Directed by Alvin Tan (Singapore) Tatsuo Kaneshita (Japan) Written by Narumol Thammapruksa (Thailand) Rody Vera (The Philippines) Tatsuo Kaneshita (Japan) with Head Writer Haresh Sharma (Singapore) Performed by Reina Miura (Japan) Tetsuya Kataoka (Japan) Rody Vera (The Philippines) Mailes Angeles Kanapi (The Philippines) Jarunun Phantachat (Thailand) Narumol Thammapruksa (Thailand) Pradit Prasartthong (Thailand) Aidli ‘Alin’ Mosbit (Singapore) Chua Enlai (Singapore) Set Design by Vincent Lim (Singapore) Multimedia Design by Brian Gothong Tan (Singapore) Lighting Design by Naomi Shoko Matsumoto (Japan) Choreography by Kuo Jing Hong (Singapore) 6 ANNEX 5 MOBILE PROFILE OF THE NECESSARY STAGE Formed in 1987, The Necessary Stage (TNS) is a non-profit theatre company with charity status. Their mission is to create challenging indigenous and innovative theatre that touches the heart and mind. They are committed to developing new works, providing a platform for new artists and reaching out to new audiences, while maintaining high standards of production. Some of the productions by TNS include Top Or Bottom (2004), Sing Song (2004), koan (2003), BOTE: The Beginning Of the End (2002), godeatgod (2002 & 2004), Close – in my face (2002), ABUSE SUXXX!!! (2001), Completely With/Out Character (1999), Pillars (1998), Rosnah (1995, 1996, 1997), Off Centre (1994) and Still Building (1993), which were not only popular successes but also critically acclaimed. TNS has also produced nine publications to date. Besides producing an average of four original plays a year for its Main Season here in Singapore, TNS also stages its plays abroad and invites foreign works to be presented by the company in Singapore, as well as through dialogues, workshops and training opportunities. To date, the company has performed in Berlin, Birmingham, Busan, Cairo, Dublin, Glasgow, London, Macau, Melbourne, New Delhi, Seoul and Taipei. TNS also reaches out to the youth and the different communities in Singapore through its Theatre For Youth and Community (TFYC). This includes presenting short plays during school assemblies, interactive Theatre-In-Education programmes, workshops, and process-based drama programmes that focus on personal development. It was responsible for the successful Marine Parade Theatre Festival (2000), FamFest (2001), The Necessary Community Festival (2001), M1 Youth Connection (1997 – 2003) and M1 Theatre Connect (2004). Another TNS initiative is The Triangle Project which was started in 1992 with the aim of providing opportunities for the less privileged to watch theatre. TNS matches donors and charities with the former buying tickets to our productions for the beneficiaries. This scheme has proven to be very successful and numerous beneficiaries of Voluntary Welfare Organisations have experienced theatre as a result. 7