THE PERANAKANBaba Alvin Tan, Artistic Director of The Necessary Stage (TNS),
is inviting TPAS members to be part of the creation of new Peranakan productions.
Join Tapestry for 3 readings of contemporary Peranakan works at Ngee Ann Kongsi Auditorium at ACM.
1. Kebaya Mama by Eunice Yap | Friday 17 April 2026, 7pm
2. Bitter Tea by Dawn Marie Lee | Friday 1 May 2026, 7pm
3. Tembok Ada Kuping (TAK) by Ryan Ng | Friday 26 June 2026, 7pm
These new Peranakan works by Peranakan theatre makers aim to contemporise heritage and engage new audiences. Tapestry’s initiative involves connecting English professional theatre practice to community theatre practice. This also includes working intergenerationally. The collective is hoping for strong turnouts and constructive feedback.
Creative Director Alvin Tan shares, “This is an opportune moment with increased enlightenment of the inclusion of heritage in contemporary theatre practice. Both NHB and NAC have increased their stakes in making this happen.”
Tan hopes there will be more support for this initiative. Sponsorship and grants can sustain a market for research and processes necessary to flourish Tapestry’s objectives to make Singapore a regional hub for contemporary Wayang Peranakan.
All readings are free to attend; kindly register for your seat and indicate which dates you will be attending by emailing alvintan@necessary.org
Professional theatre practitioners including Karen Tan and Nora Samosir are stepping up to get involved to enhance the quality and development of these works-in-progress. Karen will be involved in Tembok Ada Kuping (TAK) whilst Nora will be in both the TAK and Bitter Tea readings, helping new emerging talented artists develop their respective works.
Quotes from the participants:
“I became an accidental writer. My story, Anak Bongsu, won the 1st prize in the Baba Nyonya Literary Festival in 2024 –it is about growing up in a Peranakan family and my relationship with my father, who passed in 2021.
“A chance meeting with Alvin Tan, the Founder and Creative Director of TNS, kickstarted the opportunity to tell my story as part of a series, A Tapestry of Peranakan Stories. The production was an eye-opening experience – the rigor of rehearsals ensured that I constantly improve my delivery, diction and expression, under the tutelage of Alvin.
“Being an amateur working with seasoned artists also helped to instil discipline, structure, co-operation and co-ordination. It has been a privilege to share untold stories with the community, and more so, when the story touched a soul or two, or when it has stirred some raw emotions to allow them to ponder, reflect and appreciate.”
EUNICE YAP
“Wayang Peranakan plots in the past revolved around domestic life and family drama, matchmaking, weddings, in-laws and celebrations. But other issues were swept under the carpet. I want to present stories that push past nostalgia and interrogate the past. We have a rich cultural heritage to draw from, but we must also investigate previously silenced narratives and social taboos. Contemporary Peranakan theatre can serve as a tool for critical reflection rather than just preserving a culture. In that way the genre evolves and stays meaningful. In my first presentation, an excerpt from “Bitter Tea”, a work-in-progress, I will present the same scene in three different formats: Baba Malay, English and a mix of both with three different actors. I’m excited to see how a contemporary audience might respond. Must a Peranakan play be performed in Baba Malay to be considered a wayang Peranakan?”
DAWN MARIE LEE
“Main Wayang – playing shadows… ‘If we shadows have offended, think but this, and all is mended, that you have but slumbered here.’ Main wayang dalam mimpi.”
NORA SAMOSIR
“I love reading. I am a Singapore theatre actor who is committed to the growth of Singapore writing and believes that readings are a way for me to contribute to that growth.”
KAREN TAN
“Tembok Ada Kuping is a work I ideated whilst studying overseas, away from home, to reimagine Peranakan wayang through a more contemporary and layered lens, moving beyond the familiar humour and domestic tropes to explore themes of justice, identity, trauma, and cultural loss. Through this piece, I found myself not just telling a story, but uncovering my own relationship with heritage and what it means to inherit something I don’t fully understand yet still feel deeply connected to. With the guidance and encouragement of Alvin Tan, I was given the space to explore these ideas honestly and begin shaping new kinds of narratives within the Peranakan arts scene. This work is part of my attempt to honour tradition while also pushing it forward—presenting heritage in a modern, emotionally resonant way that reflects who we are today, not just who we once were.”
RYAN DAMASUS NG
Tapestry
A Tapestry of Peranakan Stories is a loose collective of Peranakans who see themselves as a bridging generation, connecting younger voices with the wisdom of elders. Grounded in our rich heritage, we seek to reimagine traditions with creativity and care, opening pathways for innovation while keeping culture alive, relevant, and resonant for future generations.
