Peepbird (2020)

7 October 2020 – 8 October 2020 @ Recital Studio, Esplanade – Theatres on the Bay

Synopsis

Everyday existence is a colourless hue. Then a woman transforms into a crow. The woman is a crow, a voyeur and a destabilizing self-loather. Its quest – to peep and mimic, lurk and conceal, deceive and try, to, be. Peepbird is a meeting place between puppetry and movement aesthetics, an exploration of destabilized identities and the state of being colourless. 

Director: Myra Loke
Playwright: Ellison Tan

Sound Designer & Music Composer: Darren Ng
Lighting Designer: Lim Woan Wen
Set Designer: mil de J.
Costume Designer: MAX.TAN
Puppet Designer & Maker / Props Master: Loo An Ni

Performers: Jo Kwek, Vanessa Toh, Al-Matin Yatim

Production Manager: Celestine Wong
Stage Manager: Ng Siaw Hui
Assistant Stage Manager: Ruth Au
Technical Crew: Ian Tan

(Source: The Finger Players Website)


credits

Myra Loke
Director
Darren Ng
Sound Designer, Music Composer
Lim Woan Wen
Lighting Designer
Loo An Ni
Puppet Designer, Puppet Maker, Props Master
Jo Kwek
Performer
Vanessa Toh
Performer

artefacts

Peepbird (2020), Review
Peepbird: Decay and transformation Peepbird opens with Al-Matin Yatim and Vanessa Toh emerging with slick black feathers extending from their shoulders, arms dangling and legs twisting as though they are hatchlings learning how to walk for the first time. The strangeness of being in this new world bleeds through their bodies as they stutter across the stage with feathered limbs, and they preen each other as though trying to comfort one another. Jo Kwek enters soon after, a woman transfixed by these
Teo Xiao Ting
Reviewed: 8 October 2020