Dig into real food in SRT's reboot of Dick Lee's hit musical Fried Rice Paradise
Thomas Lim (right), playwright of Fried Rice Paradise – The Makan Party, and chef Jeffrey Phua will serve up story and sambal fried rice in a dinner theatre update of singer-songwriter Dick Lee's beloved 1991 musical.
SINGAPORE – Singer-songwriter Dick Lee's beloved 1991 musical of feuding heiresses to Fried Rice Paradise restaurant is getting an update for 2025's cut-throat food and beverage scene.
In this new version, the titular heritage business charts its succession plans in the face of stiff competition from Chinese mega-chain restaurants.
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New Paper
2 hours ago
- New Paper
Twig artist, 82, goes viral - netizens want to preserve his work
When Facebook user Purp Tran shared a post about an old man and his art to the public Facebook group Heritage SG Memories, she never expected it to get so many reactions. Now, netizens are calling for the work of Mr Thien, 82, to be preserved. In the images posted, the artist is crouched before an image on the ground that appears to be a line drawing. Upon closer examination, the lines are really stray twigs arranged by Mr Thien to form a portrait, accompanied by a title in Chinese characters. "This lovely uncle uses stray sticks to create art every morning around the Pek Kio area. He is definitely a heritage fixture that we enjoy seeing when we are lucky to, and will miss one day. Pretty certain that there won't be another quite like him," she says in her post. The post has received more than 7,100 reactions and has been shared 702 times since it was posted in the early morning of July 30. It was also shared on Facebook page SGVirality, where it received 2,900 reactions and 192 shares. 'Drawing from the heart' The comments on the post were mostly in praise of the artist's skill, although some were worried that the artist would get into trouble for vandalism. "Talent in the heartlands. Kudos to uncle's creativity," commented Benjamin Zeng Yuhui. "He's drawing from the heart, Uncle probably misses someone," said Gany Eusope. A quick search online showed that Mr Thien's portrait is of actress Zhu Hong, 83, likely a movie star the artist grew up watching. For some, the post provided an explanation as to how the images appeared. "Omg I was…wondering who/why coz it was kinda freaky to have a random image by the carpark! But thanks for enlightening me!" said Joel Ng. Corinne Schmidt-Chua asked if Mr Thien's work could be preserved for posterity. "Perhaps some residents can compile an online photo gallery of his artwork to remember him in future? " "The artist's skill is truly remarkable so I took a video while he's creating his dream girl," said Rogger Yap Mr Thien is no stranger to attention. He was featured on Stomp in 2023, and three years before that, Minister of State for National Development and Trade and Industry Alvin Tan, mentioned him in a Facebook post. But Purp Tran told The New Paper that she simply wanted Mr Thien to be celebrated as an artist while he is still alive, and believes that he would do well as a busker. "I think people would support him," she said. "National day is coming up. I would feel proud to see a local talent like him doing his thing on the big screen," she added.
Straits Times
3 hours ago
- Straits Times
Rare pristine first edition of The Hobbit found during home clean-out, up for auction
Sign up now: Get ST's newsletters delivered to your inbox Caitlin Riley, a rare books specialist, poses with one of the first editions of The Hobbit by J.R.R. Tolkien. LONDON – Caitlin Riley, a rare books specialist, was flicking through photographs of tattered volumes from a routine house clean-out in Bristol in 2025 when she stopped, shocked, at a familiar green cover. There, between the pictures of faded 20th-century reference books and crumbling veterinary tomes, was The Hobbit, proud and nearly pristine. 'I literally couldn't believe my eyes,' said Riley, a books and works on paper specialist at Auctioneum, an auction house in the English cities of Bath and Bristol. 'How could it possibly be in and amongst all of this rubbish?' The first edition, first impression of The Hobbit – the literature-reshaping, generation-defining epic by English writer J.R.R. Tolkien that has sold more than 100 million copies worldwide – is up for auction on Auctioneum's website. It quickly passed a presale estimate of 10,000 pounds (S$17,000) to 12,000 pounds, and was up to 19,000 pounds on Aug 4, with bidding set to close Aug 6 evening. Such a copy is remarkably rare: Only about 1,500 were printed in September 1937. The way the book was found – after decades tucked away in a home library – may have been even more unusual. 'The idea that one sat untouched on a shelf for so many years without anyone realising its value is not just unusual,' Pieter Collier, a Tolkien specialist and bookseller, wrote in an email. 'It's astonishing.' First editions of The Hobbit have surfaced before, and can prove very valuable at auction. One copy, given by Tolkien to a student, sold for 137,000 pounds in an auction in 2015. Another sold for 60,000 pounds. But few are in as good condition as the one in Bristol, said Oliver Bayliss, the owner of Bayliss Rare Books in London, who thinks it could fetch more than 50,000 pounds. Riley knows little about the person who owned the book most recently: The clean-out was overseen by an executor, she said, and she does not know any family members of the person who died. She does know that the book came from the library of the Priestley family, who had ties to the University of Oxford, where Tolkien was a professor, and who had corresponded with Tolkien's friend, English writer C.S. Lewis, who also taught at Oxford. It is possible, she said, that the original owners knew Tolkien, perhaps 'through C.S. Lewis and through them running in the same circles'. NYTIMES
New Paper
4 hours ago
- New Paper
Chinese opera in Singapore adapts to the age of TikTok
The clang of cymbals signalled the start of a "wayang" or Chinese street opera show. As the characters with painted faces and elaborate costumes took to the makeshift stage, members of the audience - often entire families from the neighbourhood - settled in their plastic chairs, rattan fans in hand, to enjoy an evening's entertainment under the stars. Nearby, hawkers on pushcarts enjoyed brisk business peddling snacks like satay or muah chee. This common scene in the 60s and 70s has faded into our collective memory today. While street operas are few and far between now, it would be wrong to say this venerable art form is "dying", soon to become sepia-toned relics from the past. Instead, Chinese opera, in all its vivid colours, is evolving and making its presence felt on multiple platforms - theatres, schools, community clubs, malls and online. There is opera-inspired merch and even anti-scam messaging as local opera troupes innovate and modernise their offerings to attract new audiences, backed by a chorus of supporters like National Arts Council (NAC) and Singapore Chinese Cultural Centre (SCCC). It helps that there is now greater public awareness about Singapore's intangible cultural heritage and the importance of supporting practitioners such as opera troupes, said SCCC's chief executive officer Alvin Tan. "Singaporeans are also picking up on the growing global interest in Chinese culture fuelled by the success of China's cultural exports, including historical TV dramas and games," he added. Ms Serene Lim, NAC's director (performing arts) of the arts ecosystem group, attributed some of the renewed interest in Chinese opera to a growing appreciation of dialect heritage, and nostalgia across all generations. "At the same time, younger audiences are increasingly drawn to its visual spectacle and rich storytelling," she told The Straits Times. A still from The Mistake of Justice Bao. PHOTO: SCREENGRAB FROM SCCC/YOUTUBE Fresh content, more platforms The first known Chinese opera troupe dates back to the Tang Dynasty, when Emperor Xuanzong (712-755) founded the "Pear Garden", the first academy of music to train musicians, dancers and actors. Chinese opera was brought into Singapore by Chinese immigrants in the 19th century. Performances were originally held in theatres and teahouses, which were mostly in Chinatown. The languages were varied - Hokkien, Teochew, Cantonese and Hainanese - reflecting the make-up of their audience. There were also occasional Peking and Fuzhou opera performances. In the past 30 years, Shanghai yue opera was also brought to our shores. Whatever the language, opera performers must be adept in the basic skills of chang (singing), nian (reciting), zuo (acting) and da (martial arts). The main roles are sheng (male), dan (female), jing (painted face) and chou (male clown), each with its distinctive make-up, costumes and moves. The inaugural Chinese Opera Festival presented by SCCC and NAC from June 21 to July 26 was a welcome move for the five local Chinese opera troupes featured, each of them representing a different dialect. Chinese opera artistes preparing for the media preview of the Chinese Opera Festival at Singapore Chinese Cultural Centre on June 4. PHOTO: LIANHE ZAOBAO Response to the festival was encouraging, with three sold-out shows and an average of 94 per cent of tickets taken up for the two remaining shows. While 44 per cent of the audience were above 60 years old, there were also sizeable cohorts of younger people - the next biggest group (24.5 per cent) comprised people aged 41 to 60, followed by those aged 21 to 40 (23.5 per cent). While it is true that Chinese opera aficionados and performers are greying, I believe the presence of younger audiences augurs well for the art's survival. Among those who turned up for OperaWorks' The Betrothal Sword Of Love on July 12 was Aster Chen, 14, who accompanied her grandmother for the performance. The "vibrant and eye-catching" costumes were a big draw for Aster, whose interest was piqued by an opera troupe's rendition of Journey To The West at her school about a year ago. "After watching the performance, we got to try out the props and costumes they had. It was a fun activity for me as I was always fascinated with them," she said, adding that she particularly liked the long "water sleeves" and spear. The latest outing has nudged her into asking her grandmother for help with learning Cantonese even as she praised the performers for being able to convey emotions in a language largely unfamiliar to her. Musician goneMUNE, 25, who watched the same performance by OperaWorks, found it "very intriguing, exciting and moving". A Teochew, she depended on the surtitles to follow the Cantonese opera. "When I heard that it was an original story, my respect for it became more immense, because I'm a singer-songwriter who writes and produces all of my songs, and I understand the hard work and passion behind it," she said. While there's always a place for classics like Justice Bao and The Butterfly Lovers, some opera troupes have written new scripts with a distinctive local flavour to keep up with the times and broaden their repertoire to attract a new audience. One of the popular opera performances at the festival was Marshal Lim Bo Seng by Tang Renaissance, based on the story of local war hero Lim Bo Seng. There are also cross-disciplinary acts, such as Out Of The Red Box, a theatrical production jointly presented by Nam Hwa Opera and theatre group The ETCeteras in May. It blended Chinese opera with getai and contemporary music, and was presented in Chinese with English and dialect elements. In 2019, Nam Hwa Opera presented Opera Rocks, featuring a Malay rock band collaborating live on stage with Teochew opera performers. The show mixed rock music with traditional Chinese opera singing and movement, creating a unique cross-cultural and cross-genre performance. Such multidisciplinary and multiracial acts lure new audiences, and can be more relatable than ancient opera scripts. Mr Tan said SCCC will offer more support for local Chinese opera troupes, such as commissioning local Chinese opera productions, offering venue sponsorships and providing marketing support. On its part, the NAC continues to support opera groups through grant schemes, arts housing, partnerships and commissions. There are currently about 50 programmes under the 2023-2025 NAC-Arts Education programme directory to promote appreciation of Chinese opera. Support for opera is not simply a one-way street. In 2024, legendary magistrate Justice Bao was "roped in" to appear in a video clip designed to warn people about scams. This was after SCCC matched five Chinese opera troupes with various government agencies to deliver public service messages. In addition to the Singapore Police Force's anti-scam campaign, the Health Promotion Board was also in on the act with operatic reminders on the importance of regular health screening. Wooing the Young The erosion of dialects here poses challenges for Chinese opera practitioners. Many have turned to surtitles in English and Chinese to help their younger audiences follow their performances. However, Ms Pearlyn Lo, president of Cantonese clan Kong Chow Wui Koon, draws hope from how Western opera in European languages is able to flourish despite its linguistic opacity for many. "The audience can start by appreciating the storyline, the vocal music, the stylised movement and the colourful costumes in a performance, no matter what languages one may speak," she said. Kong Chow Wui Koon conducts a regular weekly class in Cantonese opera singing. It also includes interactive sessions on Chinese opera as part of its guided tours for students visiting its cultural centre in New Bridge Road. One of its performers, Ms Jade Wong, is a 23-year-old marketing undergraduate who chanced upon the clan association when she was 17. She was drawn to the "beautiful costumes and make-up" of the opera world, and her childhood idol was Hong Kong TV and opera star Liza Wang. Ms Jade Wong, 23, a marketing undergraduate, performs opera with Cantonese clan Kong Chow Wui Koon. PHOTO: COURTESY OF JADE WONG Under the tutelage of opera artiste Aw Yeong Peng Mun, she has performed at the clan's annual anniversary showcase to the public. In 2023, she played Wang Zhaojun, one of the four beauties of China, in Zhaojun Goes Out Of The Frontier, a role she reprised in 2025. "Through the years, my friends and family have been supporting me and Kong Chow Wui Koon at our performances. Through constant exposure, they have a better understanding and appreciation for the art form," she said. Many others are also making strides in nurturing young audiences and successors. Opera outreach at Nanyang Kindergarten by opera troupe Tok Tok Chiang in 2023. PHOTO: TOK TOK CHIANG Traditional Arts Centre (Singapore) has a Singapore Youth Opera Showcase 2025 at SCCC on Aug 26, showcasing performances by young Chinese opera performers to spotlight young talent. Nam Hwa Opera holds workshops and outreach performances to provide greater public access to Teochew opera at schools, community spaces and voluntary welfare organisations. It is well-known for its Teochew opera classes for children and adults. TV actor-turned-opera artiste Nick Shen, who started Tok Tok Chiang Wayang in 2011, was invited by the Ministry of Education to be part of a Chinese opera documentary which was screened in schools. This opened doors for him to hold Chinese opera cultural workshops and exhibitions in schools. To make his workshops more accessible, he often incorporates interactive elements like mask changing, magic, and popular figures such as the Monkey God. Bilingual presentations and surtitles bridge the linguistic gap, while "Q&A sessions" with giveaways keep students engaged. TV actor-turned-opera artiste Nick Shen striking a pose at Jewel Changi Airport on June 29. He conducts Chinese opera cultural workshops and exhibitions in schools. PHOTO: LIEW TONG LENG Beyond schools, Mr Shen, who is in his 40s, has staged performances in malls, museums, on yachts, online, and even with DJ Wukong in Zouk. His recent performance at the Asian Civilisations Museum drew a full-house crowd. In 2017, he became the 7th-generation troupe leader of Lao Sai Tao Yuan, Singapore's oldest Teochew opera troupe with a 161-year history, which is now managed under Tok Tok Chiang's non-profit arm. In celebration of the troupe's 160th anniversary in 2024, Mr Shen launched an online gaming and digital comic project, as well as a miniature opera stage with collectible figurines. These are available on the troupe's e-commerce website, which also features collectibles like handcrafted opera headgear made by his veteran performers. "The world is evolving rapidly, and so must our methods of outreach," he said. "We hope our Chinese opera online gaming, online comic series, and e-commerce website can attract more youth by merging tradition with interactive and creative platforms they are already engaging with." He has also been working with photographers and content creators who capture backstage moments and share them on social media platforms. These organic shares, tags and stories help boost visibility and spark curiosity among younger audiences who may not otherwise engage with traditional opera. "In today's mobile-first world, digital outreach is crucial. Live streams, behind-the-scenes reels, short videos with subtitles, and interactive content have proven effective in reaching broader audiences both locally and globally," he said. "What's most important is consistency, regular engagement, authentic storytelling, and creative reinvention to keep the tradition alive and meaningful for future generations." In the face of modern distractions, Chinese opera practitioners are not bowing out just yet. Star-crossed lovers, crime and punishment are themes with time-tested appeal. Bedazzling costumes have always been a feast for the eyes through the ages. With fresh spins on evergreen content, new platforms, and innovative audience outreach, the heady beats of "tok tok chiang" that once beckoned the crowds are likely to resonate into the future - if not on rickety wooden stages, then on TikTok.
