The rich history every theatre buff should know about
Published: 14 Mar 2025
By: Fezhah Maznan
Time taken : >15mins
Malay theatre in Singapore has had a long and exciting history that dates back to almost 150 years. In considering what Malay theatre is, one might consider it as theatre created for a Malay audience by Malay artists, performed in the Malay language, and can possibly include Malay cultural markers. However, in a country where identities are mixed and part of a bigger collective imagination of the nation, it's hard to be limited by these factors. Instead, if we adopt director Zizi Azah’s concept of "theatre created for the purpose of exploring the Malay condition which is fluid, dynamic and ever changing", it allows for a wider and richer perspective of what Malay theatre is and can be. It also makes space for a multi-cultural audience, opening up spaces for a wider inter-cultural dialogue to happen.
In researching and compiling the history and key figures behind this movement, several notable gaps emerge. For instance, prior to the late 1980s, there is little recorded history of women playing significant roles in shaping the Malay theatre scene. The contributions of those few women who were acknowledged were often either superficially documented or completely overlooked due to limited access to resources and the lack of sophisticated archival systems.
Below is a broad overview of the evolution of Singapore's Malay theatre scene starting from the 19th century to date. Want to dive deeper? Download the in-depth timeline of Malay Theatre in Singapore from pre-19th century and beyond for a more detailed journey through its rich history.
In the 1870s, bangsawan, or Malay opera, emerged. In Malay, “bangsawan” means nobleman. This form, native to the Malay Peninsula, Riau Islands, Sumatra, and coastal Borneo, featured music, dance and drama, incorporating stories from Arab, Indian and Western traditions.
Bangsawan has elements of myth and fantasy, and with no strict structure, it adapted to the tastes, context and demands of the time. It was the first commercial theatre with investors and audience from different racial backgrounds.
In Singapore, Shariff Medan became known as the “Father of Bangsawan”. He was a prominent bangsawan performer, theatre producer and film actor.
A bangsawan scene taken at the Union Star Opera known to have operated till the late 1930s. Mohd Amin Bin Kadarisman Collection. Image courtesy of National Archives of Singapore.
In the 1940s, purbawara plays, based on the exploits and achievements of historical and mythical figures, gained prominence. Amid World War II and discontent with British rule, these stories re-enacted the glory of the Malay sultanate. This was in response to the dissipating Malay power under the British rule which, post-World War II, stoked the fire of Malay nationalism. One of the most prominent purbawara playwrights was Shaharom Husain. He was a Malaysian school teacher, historian and playwright-director.
In 1944, Bani Buang staged performances with a makeshift stage of oil barrels, wooden boards and canvas sheets at Kampung Agas in Pasir Panjang, featuring Helang Hitam and Ahmad Berbudi under the name Pemuda Baru Sandiwara.
Bani Buang later directed plays including Shakespeare's Hamlet, earning the title "father of modern Malay theatre".
In the 1950s, Malay theatre underwent a shift from the declining bangsawan to the emerging genre of sandiwara.
Sandiwara depicted contemporary life and everyday issues, aiming "to remind the Malays of their rich and glorious past before colonisation and to stir up nationalistic feelings".
In 1954, Bani Buang made headlines by staging the Malay play, Anak Tiri Boyan, at the Victoria Theatre to fundraise for the Bawean Association of Singapore. His pioneering work has established him as a key figure in the development of modern Malay drama in Singapore.
A sandiwara scene that happened in a living room set typical of Malay households of that time. Image courtesy of the National Museum of Singapore.
The 1960s saw important contributions from playwrights and directors such as Rawan Hiba (Rahman B), Kalam, Onn Abdul Rahman, Nongchik Ghani, Hussein Jahidin, Yusnor Ef, and Shaharom Husain.
Shaharom Husain was known for his period drama Si Bongkok Tanjung Puteri, a popular production which was staged repeatedly by 4PM (Persatuan Persuratan Pemuda Pemudi Melayu or Malay Youth Literary Association). Yusnor Ef, mentored by Kalam, transitioned from acting to writing and directing stage plays.
Rawan’s Lela Satria, a purbawara (historical play) about Malays struggling against tyranny, was adapted into a film by Cathay-Keris Film.
In 1962, a new talent emerged when 16-year-old Almahdi Al-Haj Ibrahim, better known by his pseudonym Nadiputra, wrote, directed and produced his first Malay-language play Tercecer (The Dropout)
This video is produced by Malay Heritage Centre (MHC) as part of the Intangible Cultural Heritage conversation series which shines a spotlight on the remarkable talents who shape our cultural landscape. Reproduced with permission from MHC.
Nadiputra is one of Singapore Malay theatre’s most important pioneers. For over five decades, he has made great impact on the Singapore Malay-language literary, theatre and entertainment scene with more than 300 works for radio, stage and television that explore moral, religious and social issues in Singapore. The playwright, actor, director, producer, television scriptwriter, voice-over artist and poet received the Malay Literature Prize in 1993. In 1986, Nadiputra received the Cultural Medallion for his contributions to theatre in Singapore.
The 1970s saw Malay theatre evolve as television and foreign films led to a decline in Malay cinema and sandiwara, giving rise to new voices and experimental forms.
Scriptwriter Ramli Ahmad made his name in the 1970s through Sriwana’s drama activities. Ramli is the son of Ahmad Patek, a musician and composer of Malay songs such as Embun Menitik. Ramli’s most popular play, Ekstremis (1979), was funded by the Ministry of Culture, and tackled overzealous religious preaching that conflicted with Islamic teachings.
In 1977, the Singapore Kemuning Society was founded, exploring realist and absurdist theatre through experiments by E F Kamaludin and Lut Ali. Kemuning organised Festival Teater Remaja, discovering new talents like Atin Amat, Keatar HM and Siti Hajar Abdul Gani.
Kamaludin’s works explored religious and moral themes. This included Rentak Kiblat Membakar Kiblat, Suara Dari Astaka, Ibuku Di Tara Taqwa, and Cecandan Di Kuburan dan Garis Lintang Anak Haram which was staged repeatedly at Victoria Theatre in the 1970s and 1980s. Kamaludin also featured absurdism in his works such as Cerberangkabo and Si Albacilakyiah.
The Singapore Kemuning Society was founded and directed by Salleh Buang (pictured above). Picture taken in 2012.
In the 1980s, Singapore Malay theatre was said to be anti-plot, with no clear storyline, focusing instead on life in a cosmopolitan city like Singapore.
During this period, Singapore Broadcasting Corporation (SBC) scriptwriter Mohd Raman Daud brought attention to issues like leadership, identity, history, socioeconomic, and environmental in programmes such as Bicara (1981), Juara (1983) and Tugu (1985).
His counterparts Ahmad Ishak explored identity in Aku, while Nor Effendi Badron’s literary group Kupuja (Kumpulan Pemuisi Remaja) employed multilingual theatre, incorporating Malay, Mandarin and English in plays such as Cakap-cakap: Terima Kasih Pada Salam, Pada Bulan and Pada Bintang.
In 1982, 18-year-old Sabri Buang penned and presented his first play, Warna-Warna Lakon (The Colours of Acting). He continued to write and direct dramas such as Gersang (1983), Laluan (1993) and Uri (2001). His work, guided by his mentor, Nadiputra, was significant in shaping Malay drama.
In 1985, Nadiputra founded Theatre Nadi, Singapore’s first Malay children’s drama group. The group performed Cermin Ajaib (The Magic Mirror) in conjunction with the Young People’s Theatre Festival organised by the Ministry of Community Development.
Teater Artistik was founded in November 1986 by a group of theatre enthusiasts at Pasir Panjang Community Centre. The group performed in Malay and English. They remain active till today. Teater Artistik’s past performances included Hatta Azad Khan’s Mayat, Hamed Ismail’s Anjing Untuk Diplomat and Sabri Buang’s Tuk Ketua and Setengah Jalan Merah. It also staged Bicara, written by Mohd Raman Daud in Singapore, Kuala Lumpur and Jakarta.
Teater Ekamatra, founded in 1988 by playwright, dramatist and director Lut Ali and his wife Rubie Lazim, developed contemporary experimental Malay theatre that fused traditional Southeast Asian theatre styles with contemporary techniques. This was a departure from the folktale-based Malay theatre that then characterised the Malay theatre scene in Singapore. Teater Ekamatra tackles general socio-political themes that appeal to both Malay and non-Malay audience. In the '90s, the group staged translated works by French existentialism dramatist Jean-Paul Sartre, by American writer Tennessee Williams and by Russian author Anton Chekov. The group has also transcreated works such as Haresh Sharma's Hope/Harap (2017), Anthony Burgess' A Clockwork Orange (2019) and Chong Tze Chien's Poop/Berak (2022). Over the years, the company has featured works by Noor Effendy Ibrahim, Alfian Sa’at, Aidli Mosbit, Zizi Azah Abdul Majid, Zulfadli Rashid, Najib Soiman, Irfan Kasban, Johnny Jon Jon, Nabilah Said and more. Many current Malay theatre makers have had their first break with Teater Ekamatra through its various developmental platforms such as the Playwright Mentorship Programme, Pesta Peti Putih (Youth Theatre Festival) and MerEKA.
In the late 1980s, teater rewang or devised theatre made its mark in Singapore Malay theatre. Young directors and theatre graduates such as Sabri Buang and Khairul Anwar Salleh experimented with producing scripts from collaborations among actors. Scripts such as Khairul Anwar’s Ke Garisan, Sedia and Mula were produced and complemented with spontaneous dialogue and action as suggested.
In 1989, Teater KAMi was founded by 11 founding members including Roslan Badron and Atin Amat. who has been dubbed as the “first successful Malay female theatre director”. This followed after the closure of Kemuning Drama Club. It is hard to separate Teater KAMi from Atin Amat and vice versa. She has guided the company with socially conscious and female-forward works, drawing from Malay literature, history and folklore. Her naturalistic Malay theatre appeals to many, and to date, she has directed over 48 plays and consulted on many local and international performances. Under her leadership, Teater KAMi set the yardstick of which to expect out of local Malay theatre. In 2011, Atin Amat was awarded the Cultural Medallion.
The cast of Hope/Harap staged by Teater Ekamatra as part of The Studios 2017. Teater Ekamatra was one of the Malay theatre companies that was founded in the 1980s.
This video is produced by Malay Heritage Centre (MHC) as part of the Intangible Cultural Heritage conversation series which shines a spotlight on the remarkable talents who shape our cultural landscape. Reproduced with permission from MHC.
It is hard to separate Teater KAMi from Atin Amat and vice versa. She has guided the company with socially conscious and female-forward works, drawn from Malay literature, history and folklore. Her naturalistic Malay theatre approach appeals to many, and to date, she has directed over 48 plays and consulted on many local and international performances. Under her leadership, Teater KAMi has set the yardstick for local Malay theatre. In 2011, Atin Amat was awarded the Cultural Medallion.
The 1990s saw bold and provocative Malay theatre, marked by ground-breaking works and the rise of influential artists.
Aidli 'Alin' Mosbit writes, directs and performs. Her breakout role as Salina in the adaptation of the eponymous classic novel received many praises. Her other notable works are Kosovo (1993) which she won the Literary Awards from the Malay Language Council, Singapore for despite the controversy that the work caused, Ikan Cantik (1998), and Dan Tiga Dara Terbang Ke Bulan (1996). Her collection of Malay plays, CHANTEK (2016), was awarded the Hadiah Persuratan (Literary Award) in 2017. She has collaborated with major local theatre companies and toured internationally. She is affectionately known as the “Kakak” (Malay: older sister) to many who came after her in the Malay theatre scene.
In 1996, Titisan Temask was formed. They were a student drama group from Temasek Polytechnic who promoted bangsawan theatre and nurtured talents like Najib Soiman, Saiful Amri, Anwar Hadi Ramli, Shahril Wahid, and Al-Matin Yatim. Active until 2014, the group was succeeded by Teater Titisan (2002-2005), which continued creating bangsawan works.
In 1998, Dendam Berahi, the first full-fledged Malay dance opera, was performed with a collaboration of talents from Singapore, Malaysia and Indonesia. Nadiputra wrote the script and composed the syair (quatrain).
In 2000, Sabri Buang represented Singapore at the Mødestedet 2000 International Theatre Festival in Denmark with his double bill production: the English play Waves and the Malay drama Sangkar ("Cage"). He also directed a reinterpretation of Medea for Mosaic Youth Theatre of Detroit, making him the first Asian invited by the company. In Singapore, he was set to direct the Malay version of Talaq by Elangovan but the production was cancelled due to sensitivities.
In 2002, Causeway 2 by Alfian Sa'at was presented as part of Singapore Arts Festival and later restaged at The Actor's Studio Bangsar in Kuala Lumpur. This year also marked the debut of Pesta Raya, presented by Esplanade – Theatres by the Bay.
In 2007, Zizi Azah Abdul Majid's debut play, How Did the Cat Get So Fat?, achieved popularity. Zizi, who graduated from the National University of Singapore in Philosophy and Sociology, previously worked as a stage manager and lighting designer before joining Esplanade and becoming Teater Ekamatra's first female Artistic Director in 2009. She led the company through significant growth and success. Since 2011, Zizi has been based in the U.S. but continues to create work for Singapore, including Yusof (2015), a play about Singapore’s first president Yusof Ishak, commissioned by Esplanade.
In 2008, Panggung ARTS was founded by an artist’s collective made up of Aidli 'Alin' Mosbit, Najib Soiman, Zulfadli Rashid, Helmi Fita, Elnie S Mashari, Molizah Mohd Mohter, and more. These multi-disciplinary artists supported each other in the staging of each other's original works.
In the same year, Keelat Theatre Ensemble was founded by Gene Sha Rudyn and Adila Mohckeram. The group creates theatre with Islamic content to explore pertinent and relevant issues, with the hope of bridging differences.
A copy of the production poster for Zizi Azah's first play which was presented along new works by Faralina Ali and Fezhah Maznan.
The 2010s saw the rise of new theatre collectives and more significant contributions to both traditional and contemporary Malay theatre.
In 2014, a group of young theatre makers—Gloria Tan, Ghazali Muzakir, Johnny Jon Jon, Faizal Abdullah, Nur Khairiyah, Nadia Cheriyan, and Hafidz Abdul Rahman co-founded Hatch Theatrics.
In 2016, Main Tulis Group was founded by Nabilah Said. The group is Singapore's only playwright collective focusing on developing English and Malay scripts. The emphasis is on “main” and “tulis”—writing organically, without restrictions—while also being about playwriting as a craft.
In the same year, Aras Theatre was founded by Hidayat Nordin. It is a youth theatre collective that works with young artists from different disciplines.
In 2019, Sri Anggerik Bangsawan rebranded as Anggerik Temasek Bangsawan (ATB) Singapura, the leading practising Malay Opera troupe in Singapore. ATB’s work focuses on traditional bangsawan theatrics and its regeneration through community education, honouring the legacy of the late Haji Hamid Ahmad. The troupe continues to collaborate with local and regional performing arts groups, practicing various bangsawan genres including comedy, musical and experimental.
The 2020s featured innovative digital and solidarity projects, showcasing and supporting the Malay theatre community during the challenging times of the Covid-19 pandemic.
Panggung Digital, inspired by M Saffri A Manaf and Nadiputra with the support of M Fadlin and Saiful Amri, was a digital stage presenting Malay community stories during the Covid-19 lockdown in Singapore. It featured five radio script reads but is now inactive.
RUMAH by Khai aimed to serve under-represented Asian diaspora artists in the UK. Its programs included artist development, workshops, festivals, and networking parties. At the start of the pandemic, its programmes included a solidarity project for Singaporean Malay artists and works. As of 2022, RUMAH is no longer active.
Another solidarity project was baca skrip: #___, produced by Fezhah Maznan and Teater Ekamatra. The project was a monthly online script read of Malay plays by Irfan Kasban, Noor Effendy Ibrahim, Aidli Mosbit, and Alfian Sa'at. Scripts selection was based on their impact on Singapore Malay theatre history and/or are representative of the chosen playwright’s oeuvre. The programme hoped to support Malay artists while rekindling the works with today’s Malay theatre audience.
In 2021, The Self-Employed Person Grant gave opportunities for two key capabilities development programmes for Singapore Malay theatre.
In 2023, Asnida Daud and Firdaus Sani’s Air Da Tohor was the first performance highlighting the lived experiences of Singapore’s orang pulau and orang laut communities. The work navigated through their complex identities, loss of cultural tradition and heritage through spoken word and movement.
2024 saw the restaging of Air by Drama Box as part of The Studios. Air is a verbatim play, intimately sharing the authentic voices of the Orang Seletar, an indigenous coastal community that once lived in Singapore. First staged in 2019 as part of the well-received double bill, Tanah•Air, this new iteration of Air is a further development of the threads presented in the play’s original staging. In the careful hands of acclaimed playwright Zulfadli Rashid, materials new and old are woven into a tapestry of stories, resulting in an emotionally potent play, confronting the issues of land, dispossession and community. Air was helmed by co-directors Adib Kosnan and Kok Heng Leun, and a cast comprising Dalifah Shahril, Rizman Putra, Saiful Amri, and Suhaili Safari.
Air Da Tohor (The Tide is Low) was the first time that a performance that centred the lived experience of Singapore's orang pulau and orang laut was included as part of the Malay festival line-up.
Contributed by:
Fezhah Maznan is a creative producer and performance dramaturg. Part of her work centres around creating opportunities for new development and presentation of Malay arts and artists in Singapore and abroad.
