In the 60 years or more Singaporean playwriting has existed, one cannot understate the significance of new writing for the stage, and how it has evolved and adapted as the theatre scene grew. Where Singaporeans once looked to the greats of world literature as reference points, they suddenly had homegrown writers to look up to as playwrights matured in their craft and found a voice that was uniquely their own.

In 2006, Kuo Pao Kun’s The Day I Met The Prince (1988) was introduced as part of the O-Level Chinese literature syllabus. In 2007, Haresh Sharma’s Off Centre (1993) became the first Singaporean play to enter the Cambridge O-Level English Literature syllabus. In the 1980s, playwrights like Kuo, Stella Kon and Michael Chiang rose to prominence. The 1990s saw the emergence of writers such as Ovidia Yu and Eleanor Wong, who found their footing in developmental programmes such as T:>Works' (formerly known as TheatreWorks) Writers' Lab. It is clear through these examples alone, that home-grown plays are a force to be reckoned with, with students and scholars closely studying them and theatre companies continuing to restage them. Emily Of Emerald Hill by Kon for instance, is considered a classic in the Singaporean canon, having been restaged multiple times by companies like Wild Rice.

As the Singaporean theatre industry continues to progress, however, an interest in writing plays is crucial. New plays ensure the survival and health of the theatre scene—without new writers and work, we create fewer opportunities for new classics to be integrated into the local literary canon. They are a reflection of the ever evolving nature of the form, and original works invigorate the scene by finding new ways to tell familiar stories. When we give new playwrights the space to disrupt their present and put their works onstage, they create the ability to startle and transform new audiences through theatre. If we continue to support new work, we cultivate a promising and sustainable theatre ecosystem that will inspire theatre makers and the public alike.

Fortunately, theatre companies recognise the necessity of ensuring that new writers keep writing, and are well supported by their peers and other practitioners. Various initiatives such as Playwrights' Cove (The Necessary Stage) and New Works Lab (Pangdemonium) have picked up new works and seek to groom new writers to their best form. More recently, companies like Wild Rice have also begun programmes such as New & Now, giving new scripts a chance to be developed and realised into a staging. Checkpoint Theatre’s associate artist programme also features many up and coming theatre-makers, who could be new to the scene or artists from other disciplines making their first foray into theatre. Intermediaries such as Centre 42 have also supported new playwrights through various development programmes, such as the Professional Playwright’s Development Residency, and New Scripts Garage.

With the future of Singaporean playwriting looking bright as we see it on the horizon, let’s chat with seven up-and-coming playwrights making their own strides in the scene.

This piece is a companion to 10 Young Singapore Theatre Directors To Look Out For, highlighting young directors in the industry.