Earmarked by Dance Magazine Japan as someone “definitely worth anticipating”, former Cloud Gate 2 dancer and a Bloom Prize finalist of The Rose International Dance Prize 2025, Wang Yeu-kwn, is fast gaining international attention. This certified fisherman is also the first Taiwanese to receive three awards at Japan’s Yokohama Dance Collection. Wang’s Islands, the second […]

“Don’t lose your A-PEEL!” Twisting Shakespeare with polo, parties, pranks and pickles-a-plenty in 1930s Penang. A very special production for KLSP as this show features a cast of 17 actors, including both veterans and newbies - all of whom have received our training in performing Shakespeare. Although this show only use Shakespeare’s text (there will […]

Macbeth who receives a prediction from the witches that he will become king. When his wife, Lady Macbeth, finds out, she arranged an alliance due to greed and desire for power to kill the King who stopped by their house and the murder soon turns out haunting both of their lives. The intercultural Theatre which […]

I’m OKay, yoU? follows a young woman with a physical disability who recalls her school days, when during every marathon, she was told to sit aside “for her safety.” Tired of pity disguised as care, she decides one year to break the rule and run. Through humour, pain and defiance, she rediscovers her strength and […]

Following January Low as a solo performer whose role has evolved from dancer to mother, this work asks what it means to be a contemporary female practitioner of Indian classical dance today. It challenges both Low’s and the audience’s perceptions of the Indian classical dancer by foregrounding the unseen physical discipline required to sustain an […]

《娭毑》是一齣從「成為母親」開始的單人劇。 當育兒的恐懼與不安浮現，一名女性回頭凝視自己的母親，並將視線延伸至已經過世的外婆。那些她長久以來深信不疑的家族敘事，在求證與追問中逐漸鬆動。原本清楚的責任鏈開始崩解，留下的是無法完全歸責於任何一代人的選擇與性格交錯。 這不是一封對上一代的控訴信，也不是一場和解儀式。《娭毑》更像是一個暫停的瞬間。當我們無法再把痛苦完全交給上一代時，我們是否仍然願意為現在的自己負責？ 作品以極簡舞台與象徵性物件「痰桶」為核心，讓觀眾看見敘事如何在一個人心中崩解又重組。這不是角色衝突的展示，而是一場對記憶、責任與成為的凝視。 Oi-Jia is a solo performance that begins with the experience of becoming a mother. As fear and anxiety surface in the midst of childcare, a woman turns to examine her own mother, and extends her gaze further to her late grandmother. The family narratives in which she has long believed begin […]

Bisik berkisar isu traumatik peperangan diri. Peperangan nyata ataupun tidak terpandang dek mata. Ia kadangkala bersifat terlalu peribadi. Inspirasi dari kisah sejarah Perang Musuh Bisik sebagai pencetus cerita dan dikembangkan menjadi satu cerita berdasarkan kepada idea-idea kolektif.

《鼓境》不仅是一场演奏会，更是大马打击乐家唐勇豪多年深耕二十四节令鼓的艺术结晶。他将书法线条、武术气韵与舞蹈流动融入节奏，使鼓声超越单纯的打击，转化为空间与意境的延伸。 本场演出精选十余年创作与比赛淬炼之作，由芙蓉中华中学及双威大学二十四节令鼓队、一群15至25岁的青年传承者共同诠释。 舞台之上，击鼓如呼吸，节奏似画卷。观众将走进由节奏构筑的世界，在力量与静默、传统与当代之间，亲历这场由“鼓”而生的艺术之境。 这，就是《鼓境》。 Realm of Rhythm is more than a concert; it is the creative culmination of Malaysian percussionist Thong Yoong How’s lifelong dedication to the 24 Festive Drums. By weaving together the fluid lines of calligraphy, the disciplined energy of martial arts, and the grace of dance, Thong transforms drumming into a spatial […]

Siapa Cacat? is a Disabled-led theatre production co-directed by Ho Lee Ching and Jazzie Lee Jin Jye, featuring seven Disabled performers: Ameera Ramlee, Dino N. Hassan, Fndrocka Notapurba, Gejaletchumi Murugaya, Lavinia A., Nuna Wan and Nur Aisyah Shahimee, and interpreter Aw Wei Chun. Set at a bus stop, the performance unfolds as different figures come […]

Between dance and storytelling, and all while manipulating sounds and clay, the actor-sculptors will tell a story of the fables, and take you on a journey through time and space. It is as if they are going back in time, digging into the origins of the first stories, perhaps even before words, borders, rules and […]