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WIRED
24-07-2025
- Entertainment
- WIRED
Americans Are Obsessed With Watching Short Video Dramas From China
Jul 24, 2025 3:00 AM How did steamy, short soap operas that originated in China become the hottest thing in Hollywood, seemingly overnight? The ReelShort is seen in the App Store. Photograph:My partner recently confessed something to me about his screen-time habits: When he's giggling at his phone, he's often watching short English-language soap operas that have begun showing up on his social feeds. The plots are basic, the acting is exaggerated, and the performers are stereotypically good-looking, but the constant twists and turns keep him spellbound and wanting more. I knew exactly where these videos were coming from. It's been four years since I first heard about the exploding popularity of Chinese vertical soap operas called 短剧, or duanju. Since then, the industry has become fully entrenched in foreign markets, including Hollywood. Remember the streaming platform Quibi? It lasted only six months from start to finish. Compare that with three-year-old ReelShort, the first platform to export Chinese short dramas to foreign markets, which says it now has 55 million monthly active users. In the first quarter of 2025, ReelShort and similar apps like DramaBox, GoodShort, and DramaWave earned nearly $700 million from in-app purchases—either weekly subscriptions or one-time payments to watch an episode. That's roughly 300 percent more than they earned during the same period last year, according to the market intelligence firm Sensor Tower. Globally, these apps were downloaded 370 million times in the first quarter, a 500 percent increase from 2024. So how did short dramas from China quietly become the hottest thing in entertainment seemingly overnight? ReelShort arrived in Hollywood at a time when the legacy movie and TV business was struggling. Many actors and production teams were on strike or out of work after the major streaming giants slashed funding for original programming. Companies making vertical dramas were becoming more powerful and ambitious than ever, and they became a lifeline for some entertainment workers. ReelShort representatives told me the company still sees itself as occupying a middle ground between TikTok and Netflix, but it looks to me like they are no longer satisfied with just being something in between. The company is rapidly expanding into different genres, including reality TV, thrillers, art house, and more. It recently launched a global competition for new show ideas pitched by social media creators. And it's building fandom empires for its most successful actors, turning them into genuine international stars. At least for now, the company says it's continuing to double down on real, human actors and writers, rather than going all-in on artificial intelligence. 'I don't think it will even come close to what humans can do when it comes to the nuances and how people follow emotion,' says Sammie Hao, head of talent relations and brand partnership at ReelShort. What Exactly Are Short Dramas? Short dramas are similar to low-budget feature-length movies, but filmed vertically and cut into one-minute episodes (they almost always end on a cliff-hanger.) The size of the cast and investment in things like props and costume design is minimal. But compared to an amateur TikTok sketch, they are much more professional and regularly incorporate visual effects, editing, and directing. To be honest, the short drama industry is still largely defined by storylines that hinge on tired tropes: the salacious adventures of a billionaire's housewife, affairs with sexy werewolves and vampires, or rags-to-riches fairy tales. But they reliably deliver a shot of dopamine when they appear on your social feed, drawing traffic and generating revenue for the platforms. I've been told by multiple people that the set of a short drama doesn't necessarily look that different from an indie movie or commercial shoot, except everything is churned out much faster to save on costs. Whereas a traditional shoot would last weeks or months, the entire season of a vertical show is typically filmed within two weeks. Nicole Mattox, one of the vertical stars working with ReelShort in Los Angeles, told me she usually books two to three shoots in one month, with only two days in between. A professionally trained actress originally from Texas, she had only been in a few small movie productions before stumbling on the short drama industry in 2023. But she says she quickly learned how to remember all of her lines—an impressive feat, considering that the platforms usually shoot a dozen pages of script a day, whereas a traditional movie may only shoot three. Mattox says her acting coach told her that her performances don't have to be unrealistically dramatic; rather, it's just that every plot development is incredibly meaningful for her characters. For example, in the fictional world of a vertical drama, a romantic breakup can be your entire life. 'There's nothing else for you to move on from. There's no future for you anymore. Everything's ruined,' Mattox explains. Creating Global Stars Hao, who works in talent recruiting for ReelShort, says many of the company's actors come from modeling or advertising backgrounds and have never had speaking roles before. Now, they can star in a dozen shows in a single year and quickly grow their careers. The third ReelShort production Mattox starred in was a romantic comedy about professional ice hockey called Breaking the Ice. Mattox played the personal assistant to an NHL player, who naturally, was also his secret baby mama. The show became a runaway success, with over 300 million views on ReelShort. Mattox says she has been surprised by how devoted her fans are, a large number of whom are in the Philippines. In May, some of them paid to put a picture of her face on a billboard in Times Square to celebrate her birthday. Earlier this month, they rented another billboard in Manila to advertise her latest production. Your show 'had me in a chokehold,' one commenter wrote on her personal TikTok account, where she has amassed over 130,000 followers. What ReelShort did after Breaking the Ice became a hit demonstrates the real secret behind its success. The company quickly adapted it for the Spanish-speaking and Japanese-speaking markets, but rather than dubbing the existing dialog or simply swapping the actors, it changed key aspects of the plot. In the Spanish version, the male protagonist became a soccer player, while in the Japanese version, he was a baseball star. The original series debuted in July 2024; the locally filmed adaptations dropped in September and December the same year. In Hollywood, that kind of speed is unfathomable. Four years after the Korean Netflix show Squid Game became a global sensation, the American adaptation is still only rumored to be in the works. The short drama industry can move much faster not only because its production costs are low, but because startups like ReelShort have mastered the art of localization—after all, they first had to export the genre from China. While Sensor Tower says US audiences still represent about 49 percent of the global revenues, half of downloads of short drama apps this year have come from Latin America and Southeast Asia. That explains why ReelShort produced its hit English show The Double Life of My Billionaire Husband in five other languages, and why it has started working with legacy telenovela production companies in Colombia. Chinese Roots ReelShort's parent company, Crazy Maple Studio, was previously majority-controlled by COL Group, one of the largest digital novel publishers in China. The startup now says its founder, Joey Jia, owns the company, though COL Group continues to hold 49 percent of shares. Even as the genre goes global, most of the people making short dramas in the US still appear to be Chinese immigrants or Chinese Americans, largely because they are more familiar with how it works. Jay, a Los Angeles–based short-drama producer from China, says the industry still looks to China for guidance and inspiration. One of the key lessons it learned from China is the importance of collecting extremely granular user data. Which episode made people stop watching a show? Which one made them sign up for a subscription? Jay gave me a specific example: Actors, she says, often react with the same loud gasp and shocked expression when they are slapped on screen. But if one show found that instructing an actor to kneel to the ground after getting hit in the face increased engagement, then all of the company's productions would typically incorporate the same thing into their plots. I think there's something discreetly Chinese in the way these data-driven insights are finding their way into short-drama productions outside of China: The cheesy plots and cliff-hangers, no matter how simple they seem to be, are the result of years of hard work by Chinese scriptwriters who cracked the formula for evoking strong emotions from their viewers. Jay says when a script from China is being localized in the US, there's sometimes a tendency among producers to make big adjustments to align with local cultural norms. But changing too much also risks undermining what made the show a hit in the first place. At the end of the day, 'this is not an industry that encourages innovation, unless you can prove that the innovation resulted in real revenues,' Jay says. This is an edition of Zeyi Yang and Louise Matsakis' Made in China newsletter . Read previous coverage from Zeyi Yang and Louise Matsakis.
CNBC
22-07-2025
- Entertainment
- CNBC
How China's $7 billion micro drama industry is taking on the U.S. entertainment industry
Micro dramas, known for wild plots and vertical, bite-sized videos, made headlines in China in 2024 as the industry surpassed the country's box-office revenue for the first time. The micro drama market exceeded 50 billion yuan, or about $6.9 billion, according to the China Netcasting Services Association, a state-controlled group that regulates China's online audiovisual content. "In the states, you have the soap opera 'The Bold and The Beautiful.' And it's 'The Bold and The Beautiful' on steroids, basically," said Anne Chan, founder and CEO of AR Asia Production. "You've got to have a cliffhanger at every minute versus every hour. So everything is sweet, short and sharp." Micro dramas, also known as in Chinese, typically consist of episodes ranging from 90 seconds to two minutes long. They initially gained popularity in China after capitalizing on the short-form video trend from other short-video apps in the country. "It all started with Douyin and also Kuaishou as they started pushing these vertical short dramas on their platforms," said Ashley Dudarenok, founder and managing director of Hong Kong-based consultant firm ChoZan. "Especially 2020, 2021, during the pandemic, dramas grew rapidly." Experts say micro dramas appeal to consumers with fast-paced, addictive storylines that deliver instant emotional payoff in just minutes. Their short, bingeable format caters to the attention spans of today's mobile-first audience, making them easy to watch anytime, anywhere. "They're tapping into the behavior of instant gratification," said Seema Shah, vice president of research and insights at market intelligence firm Sensor Tower. "The way that you immediately are satisfied by seeing this story is what is the hook. It's a little over the top, but it's over the top that is still entertaining." Micro dramas are also gaining popularity in the U.S. ReelShort, DramaBox and GoodShort were the top downloaded micro drama apps in the U.S., accounting for about 50% of downloads year to date in 2025, according to data shared with CNBC by Sensor Tower. "Many micro drama producers believe because America produced Hollywood and is probably the world's largest cultural export, if you can sell it to and make it appealing to the American public, you can then sell it and make it appealing to the rest of the world," said Dudarenok. Watch the video above to find out what is behind the popularity of China's micro dramas, and whether the nearly $7 billion industry can become China's next big cultural export to disrupt the U.S. entertainment industry.
Business Insider
03-06-2025
- Entertainment
- Business Insider
Hollywood's new obsession is a twist on the classic soap opera
Mini-drama apps made popular in Asia are surging in the US — and Hollywood is taking notice. These apps are best known for their soapy melodramas featuring princes, werewolves, and more, which are presented in bite-sized vertical episodes and meant for mobile phones. China-backed ReelShort is the most prominent purveyor of these, with typical titles like "The Double Life of My Billionaire Husband." Another top player is DramaBox. Hollywood has been trying to figure out how it can capitalize on the mini-drama craze, and studios like Lionsgate have been evaluating opportunities in the space. "I get an overwhelming number of questions about this topic every week," said David Freeman, head of digital media at CAA. " Talent is actively exploring the space, creators are drawn to it due to the low cost of content production, and major companies are evaluating their strategic approach." Freeman said some key questions were which categories work well and whether the format could be expanded to the unscripted realm. "In time, I anticipate that Netflix will find a way to successfully integrate vertical video and potentially make it part of their strategy to engage Gen Z audiences," he continued. As TV and streaming giants spend more money on sports at the expense of traditional TV and film, producers, studios, and other players are casting around for other entertainment markets and ways to serve audiences on the cheap. Social-media stars have already been getting a second look from Hollywood. And now, so are mini-dramas. Industry players said they'd taken note of the marketing on TikTok that the mini-drama apps are throwing behind their stars. App tracker Appfigures counts 215 short drama apps in the US and estimated US spending on them more than doubled in the past 12 months, to more than $100 million a month in gross revenue. Hollywood is curious about mini-dramas Agents and others told Business Insider that while Hollywood is buzzing about mini-dramas, companies are generally still in the initial stages of exploring the format. One traditional player that's making concrete moves in the space is TelevisaUnivision. It's planning to debut 40 telenovela-style minidramas on ViX, its streaming platform, and intends to expand to other genres like docs and comedy. Others are at least mini-drama curious. Lionsgate, for one, has been in the early stages of exploring the format, a person familiar with the studio's plans said. Hallmark is another studio that's discussed the format internally, a person familiar with the company's thinking said. Select Management Group, an influencer talent management firm, is looking for mini-drama actors to sign, primarily those prominent on ReelShort. Select's Scott Fisher said verticals have "become another place you find talent," much like YouTube birthed digital stars like MrBeast and Emma Chamberlain. People have questions Despite Hollywood's interest, it's unclear how these vertical dramas could fit into the traditional film and TV system, which emphasizes high production values and guild-protected talent. And people in Hollywood told BI they had plenty of questions. Here are a few: These mini-dramas often fall below the budget threshold that would trigger certain rules from the Hollywood guilds. But how can legacy companies take advantage of these productions' low costs without alienating the guilds and their members? Soapy melodramas are the most popular form of vertical series, but are they extendable to other genres such as reality TV, docs, and true crime? A+E Global Networks is taking the unscripted route, launching a slate of original series for mobile around its History brand in an effort to reach young viewers. Can they make real money? The appeal is that they're cheap to make, but how big of a business can they be? And what's the right mix of revenue between ads and viewer payments? ReelShort parent Crazy Maple Studio's founder Joey Jia said last year that viewers typically paid $5 to $10 a week. How should they distribute them? TelevisaUnivision has its own platforms to post such shows. But production companies that don't have their own distribution arms could use the likes of TikTok or YouTube and share the revenue with the platform. Are these dramas too far out of Hollywood's comfort zone for it to get right? Hollywood insiders remember how Quibi, Jeffrey Katzenberg's idea to make quick-bite shows, went down in ignominy. The big difference is that Quibi's episodes were more highly produced than today's vertical dramas and didn't employ a "freemium," pay-as-you-go model. 'It's just a matter of time' Some media insiders think it's inevitable that big streamers and studios will at least test the format's potential. They've already shown some willingness to play with different formats and distribution platforms. For example, Paramount put "Mean Girls" on TikTok in 23 segments lasting one to 10 minutes. And YouTube and Amazon's Prime Video could make sense as distributors because they're already set up as platforms that allow people to rent or buy individual movies or shows. "There's just a question of how far are they going to stray from doing what they normally do," Fisher said of the Hollywood players. Industry analyst Evan Shapiro sees mini, vertical-shot dramas as "toilet television," something made for watching on mobile phones and fitting the scrolling mentality. He added that he believes the format is a natural way for companies to incubate shows for TV. "It's just a matter of time before you see a drama from one of these players and a fast follow into other formats," Shapiro said. "The big question is, how do we monetize that. But if it takes off, it converts to a premium, wide-screen format for TV."
Business Insider
26-05-2025
- Entertainment
- Business Insider
The new Hollywood: working for YouTubers, starring in mini-dramas, and building side hustles
Mathieu Bonzon spent over a decade working in production in Hollywood, with credits including "Outrage" and "Ford v Ferrari." But when work slowed in 2022, Bonzon, who had a new baby at home, needed more financial stability than an independent producer's life allowed for. An introduction to the Gates Foundation led him to start making cinematic educational videos aimed at college kids for Gates, NASA, and other organizations. The long-term contracts brought a more predictable income than he had as a producer. He's able to get talented crews because so many people are looking for work. He also finds the work more rewarding than the Hollywood films he'd worked on, seeing the potential to make education more accessible. "It's liberated me from needing to do something to pay my bills and liberated me to do something that's more meaningful to me," Bonzon said. The end of Peak TV, Hollywood labor strikes, and the shift of TV and film productions to cheaper locations overseas have threatened the careers of people across filmed entertainment, from crews to actors to producers. Scripted TV series orders were down 25% in 2024 from their 2022 peak, when 3,108 shows were ordered as Hollywood raced to catch up to Netflix, according to industry tracker Ampere Analysis. TV writing jobs fell 42% from 2022 to 2023, per the Writers Guild of America. Trump's tariffs have also cast a shadow on the economy, dampening hopes for a Hollywood recovery. Some in creative fields have deferred or redefined their dreams of making it in Hollywood and retiring on a big studio salary. Others have abandoned those ambitions altogether for other careers or are trying to make ends meet in the gig economy. While traditional film and TV output has declined from its apex, adjacent creative fields are growing and providing opportunities for those willing and able to pivot. The creator economy continues to expand, with marketers poised to spend more than $10 billion on influencer marketing this year, according to a March EMARKETER forecast. Brands from Walmart to AB InBev are leaning into cinematic entertainment to cut through the ad clutter. Mini dramas, the bite-sized vertical soaps popularized by Asian-backed apps like DramaBox and ReelShort, are on a growth tear in the US, leading legacy TV companies like TelevisaUnivision to take note. Business Insider spoke to 11 producers, editors, and others at various career stages who shared their experiences in and lessons from working in these areas. Many are contending with painful financial adjustments, and some are still waiting for Hollywood to call. Film and TV pros who were at the top of their earning power also have to adapt to new financial realities. Zack Arnold, a film and TV editor ("Cobra Kai," "Glee"), shifted to podcasting and coaching several years ago. He helps other midlife Hollywood creative workers apply their storytelling skills to the entrepreneurial creator space. But a top Hollywood editor used to making thousands of dollars a week can't replace their income by editing short videos for YouTube. "There aren't enough hours in a day to do that," Arnold said. For others, the shift can lead to more stable income. Marc Herrmann, a TV film actor who's appeared in about 10 productions for the mini-drama app ReelShort, said he's been able to call himself a working actor for the first time. "That's everyone's dream," Herrmann said. "This vertical world has saved a lot of people from doing jobs they don't want to do." In the creator space, feedback comes fast Those who turned to creator-led studios built by YouTube stars say there's more opportunity, and the hands-on nature of the work can be rewarding. Isaac Diaz was laid off from his role as senior digital creative producer at the streaming service Paramount+ last year. He packed his bags and moved to Austin, never thinking that two months later he'd be working for a Minecraft YouTuber. He got the job because the team was looking for someone with traditional production management experience. As assistant director of production, Diaz helps the team at CatFace, the company behind the mega YouTuber Aphmau, who has over 23 million subscribers, build productions that can rival Hollywood shows. Diaz hasn't closed the door to traditional media. He would consider going back for the right opportunity. "However, having worked here has opened up my eyes to so much more opportunity," Diaz said. "I realized I don't necessarily need to be living in LA, and working for a major studio, to be doing something that I love." There is a level of culture shock that comes with a new media gig. Amanda Barnes, EVP of production at Smosh, a 64-person creator studio with 26 million YouTube subscribers, said she was thrown by the pace of creator content compared to her past work at Warner Bros. Animation. "There's no wait to see if you get a season two green light." Feedback comes fast when you have near-instant access to data on how content is performing with audiences. "We can learn what worked, what didn't work, at such a faster rate, and then get to do it all again," Barnes said. "I've never worked in a field where the feedback is that quick." There also tends to be less red tape than working in traditional media. Barnes, who reports directly to YouTubers Anthony Padilla and Ian Hecox, said it's nice to have fewer layers of clearances. Caroline Simmons, who worked on productions for Netflix and YouTube originals and is now the director of production at CatFace, was similarly shocked by the company's chain of command. She works closely with CEO Jessica Bravura, who created the character Aphmau. "At a traditional studio, you're never seeing a CEO," Simmons said. "And if you do, it's probably a bad day." Mini dramas are helping pay the rent Irvin Gelb has been in the entertainment business since the late '80s, initially helping Japanese corporations invest in Hollywood and later transitioning to talent management. After the 2023 Hollywood strikes, auditions started slowing down. In 2024, Gelb said he began seeing casting offers for vertical dramas. He was initially skeptical because he didn't want clients appearing in movies on phones, and the work paid less. Nevertheless, he submitted an up-and-coming actor, Cayman Cardiff, for a short titled "Santa Bring Me a Billionaire Husband," which became a hit. From there, Gelb began researching the space. "I saw the future, and I was in," he said. Cardiff has wrapped 14 verticals to date. Gelb said the medium has provided fresh opportunities for the "thousands of incredible actors that are not working." The actor Sarah Moliski has emerged as a leading player in the vertical scene, specializing in villain roles. Her characters have stolen sperm and hired drunk doctors to administer abortions, she said. She also hosts a podcast for leading mini-drama app ReelShort and works behind the scenes on casting. After hustling for years, Moliski said verticals "changed everything for me." She landed her first, "Ms. Swan, Teach Me Love," after dropping her team and submitting a self-tape. She wants to continue riding the wave and is hoping to land more lead roles that center strong female characters. While the outlandish storylines may raise eyebrows, more established directors and figures across other departments are getting involved, Moliski said. They're starting to say, "'Oh, these aren't so cringey' — because nothing's filming and what's cringey about paying rent?" Gelb said most vertical actors still have aspirations of foraying into the "horizontal world," but he's striking while the iron is hot. He's also pursuing producing and investing in verticals in collaboration with existing apps and his talent roster. "Every actor's biggest dream, I don't care what level you are at, is consistency," Moliski said. Brands are beckoning Some people have found opportunities to transfer their film and TV expertise to brands and other organizations. Jenifer Westphal is the founder and CEO of Wavelength, a Tony- and Emmy-winning production company behind documentaries like "Won't You Be My Neighbor?" A few years ago, she started working in branded content, applying Wavelength's character-driven storytelling to marketers, including Hoka and De Beers. Wavelength acquired an agency, Duplex Deli, and has grown from three to more than 20 full-timers. Today, most of Wavelength's revenue comes from brand work. "We're willing to do whatever creative a brand wants us to, as long as it fits with our ethos," she said. Marisa Levy spent 15 years making unscripted shows like "Here Comes Honey Boo Boo" for Discovery's TLC. In 2022, she jumped to branded content for companies including Rebel Girls, a girls' empowerment media brand, and then for herself. By then, Peak TV had come to a screeching halt. Looking around, Levy saw new places to apply her understanding of audiences. "Every brand needs to expand across platforms, whether it's a wine company or a media company," she said. "They're all so eager to build out their YouTube or TikTok, and our skill set is 100% applicable." It's been an adjustment. Going from a senior executive post at a network to startup land gave her a crash course in new skills like hiring influencers and making YouTube videos. It also meant trading business class for coach and learning a new work culture, with its specific jargon and presentation style. "Everything requires an analytical deck," she said. Having to count on herself brought insecurity. But while she's no longer working in Hollywood, Levy has found value in her new focus. "Some brands are doing such good stuff," she said. "You can still shape culture; you're just doing it in a different way."
Straits Times
25-05-2025
- Entertainment
- Straits Times
Sifa 2025 Week Two: What audiences say
Audiences at Sifa shows such as The Sea And Its Neighbourhood share their thoughts. ST PHOTOS: GABRIELLE MARIE SUNDERAJ, DORCAS LIM SINGAPORE – The Singapore International Festival of Arts (Sifa) 2025 kicked off on May 16 and runs till June 1. With the theme of More Than Ever, the tentpole performing arts festival organised by Arts House Limited has lined up varied shows, from crowd-pleasing comedy headlined by ever-popular actor Hossan Leong and family-friendly fare at Little Sifa to Drama Box's participatory theatre piece Hello Is This Working? and the more intimate Japanese Occupation-era tale A Thousand Stitches. The Straits Times speaks to some attendees to get their impressions of the shows. Lear, SOTA Studio Theatre, May 23, 8pm Pammela Ng, 29, software engineer: 'This is the first Sifa Performance I have watched, and it is definitely a very new experience for me. The acting really stood out to me , it was very emotional. Even though there were no words, every single movement made by each of the actors was so well calculated and well timed with the music. I now have a new plan to attend more Sifa performances.' Ms Pammela Ng and Mr Joseph Ong after watching Lear at Sota Studio Theatre. ST PHOTO: GABRIELLE MARIE SUNDERAJ Arthi Nachammai, 18, student: 'I didn't expect that there would be no lines in the performance. So, when I first watched it, that first scene was very powerful. It was so full of energy, with the lights and sound, and even the vibration in the seats. It was a very audience-engaging experience. The coordination between the three supporting actors was incredible, and their eyes spoke volumes. Being a theatre kid who has directed a school show before, I could learn so much from what was going on.' Arti Nachammai after watching Lear at Sota Studio Theatre. ST PHOTO: GABRIELLE MARIE SUNDERAJ Miriam Cheong, 30, theatre practitioner: 'Ramesh Meyyappan's performance was beautiful from the moment he stepped onstage. I was invested. I didn't quite know exactly what would happen, but I was ready for the next hour. When I watched it, I instantly thought it was different. It is not often you get to watch such purely non-verbal theatre in Singapore. Yes, we have a lot of physical theatre here , but it was physical in a way that was different, it embodied emotion.' Miriam Cheong after watching Lear at Sota Studio Theatre. ST PHOTO: GABRIELLE MARIE SUNDERAJ A Thousand Stitches, Drama Centre Black Box, May 23, 8pm Evi Marmar, 48, museum guide: 'I thought it was very well done. I liked the combination of the different media, so I found it quite impressive. I also enjoyed the story because it's a part of the history of Singapore that I find very interesting. It's nice to see it in a different way and presented more from like a human point of view – not just finding the enemy and the friend, because nothing is so clear.' Evi Marmar watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Joel Gn, 43, lecturer: 'It presented a side of the Japanese Occupation that is not often discussed or raised in history books, like how the Japanese felt about it and what the Japanese living in Singapore were going through at that time. I would definitely recommend this show to others, it is really good.' Joel Gn watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Zhanhui Wong, 38, events coordinator: 'I enjoyed the little parts – there were a lot of fun effects. It tackles a lot of aspects of history that we are not normally used to, but they do it in a pretty fun way.' Zhanhui Wong watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Simran Kotak, 39, entrepreneur: 'It was like just two people and very few props. Minimal stuff but maximum impact. It's a very impactful and powerful production. I've also seen Animal Farm, and am going to watch Hossan-ah In The High Arts on May 31. I am enjoying Sifa very much.' Mrs Simran Kotak (left) and Mr Vir Kotak (right) watched A Thousand Stitches at Drama Centre Black Box. ST PHOTO: DORCAS LIM Little SIFA, Empress Lawn, May 24, 11am to 10pm Law Ding Ying, 41, clinical research professional: ' It was very nice. The event was very family-friendly. I appreciate all the effort and all the volunteers. I was really looking forward to The Purple Symphony showcase as I've known of them, but have never had the chance to watch them live. I really want my two sons to be exposed to them as well. This place is marvellous – it's immersive and interactive.' Tabitha Anaia, nine, student: 'I like the show. The musicians played so well. I enjoyed doing cartwheels around the lawn and listening to the music. I had a lot of fun today despite the heat.' Tabitha Anaia (third from right) and Alula Agnimaya (fourth from right) with their friends and family during Little Sifa at Empress Lawn. ST PHOTO: GABRIELLE MARIE SUNDERAJ Alula Agnimaya, 9, student: 'The pianist in the showcase was really good. I had fun at the bracelet making booth too.' Lau Su Anne, 38, finance and operations manager: 'The children singing onstage were very talented. I hope one day my daughter will also like music. She was clapping her hands and cheering throughout the performance. This is my first time watching a show like this with my daughter, who is 15 months old. She's just started to walk and respond to things, so I can tell she loved it. She is too young to try the activities, but we enjoyed the music and the orchestra nonetheless.' Lau Su Anne with her husband and 15-month-old daughter during Little Sifa at Empress Lawn. ST PHOTO: GABRIELLE MARIE SUNDERAJ Dhiraj Nanda, 38, finance professional: 'The House Between The Winds (installation work) was very raw and organic, and it's something special for children to understand and experience. This was definitely a nice family event to attend, and it is our first time watching a performance together.' Hossan-AH! In The High Arts, Bedok Town Square, May 24, 8pm Dutta Aania, 15, student: 'It was like a concert in public and it was really nice. He sang songs that we all know and it's really funny. I love that I can just pop by any time next time if it's happening again and just watch.' Yamin Thant, 15, student: 'I liked the show very much because he was really entertaining. He sang a lot of songs that are very popular and I especially like La Vie En Rose , the French song . I think the fact that the performances are free is really good, because it increases the outreach and public exposure to the arts. Most of the arts performances are ticketed, but now you don't have to pay. You can just sit down and watch with your family and friends. I will definitely be down for more Sifa shows because they are very entertaining.' Yamin Thant after watching Hossan-Ah! In The High Arts at Bedok Town Square. ST PHOTO: DORCAS LIM Suani Azlan, 57, housewife: 'The show was really good. If I had to rate the show out of 10, I will give it a 10. It was excellent. I will go for more shows in the future, especially if they're free. I knew that these shows were happening because there are posters around. I'm also aware that there are shows tomorrow, and I will be coming down again. ' Suani Azlan after watching Hossan-Ah! In The High Arts at Bedok Town Square. ST PHOTO: DORCAS LIM Join ST's Telegram channel and get the latest breaking news delivered to you.
