Derrick Chew’s theatre company was inspired by a love of literature and a desire to develop Singapore’s art culture. “As a country, we have all this wonderful infrastructure, resources, and finances, but we lack culture,” he says, adding that the survival of Singapore’s theatre scene depends on the audience of tomorrow.
“We cannot convert the company, but we can influence it. That’s the first thing we’ve set out to do.”
Sight Lines Entertainment pulled off its first interactive virtual play during the pandemic. “It was primitive,” Chew recalls with a laugh. “We acted on camera and typed a lot, while trying to overcome the usual lags and disruptions.”
Then it took on a technology partner and created a second instalment in December 2020 that involved gamification and a 360-degree camera. Players could click on locations and interact with story elements. The murder series continued with Murder at Mandai Camp with Benjamin Kheng as the lead detective, followed by Murder at Old Changi Hospital, starring Munah Bagharib.
After restrictions were eased in 2021, the company collaborated with Hossan Leong to create The Curious Case of the Missing Peranakan Treasure with Raffles Singapore, the first hotel virtual mystery game in the world. Currently, the company is preparing to debut Crack The Case: The Mind Hunter, a show in which audiences will be able to roam the set, look for clues, and solve puzzles.
“You can go wherever you wish to experience the mystery,” says Chew. “Performances will take place simultaneously in multiple locations. Audience members can walk around or follow the scenes. Then, they must gather to discuss findings and crack the case before the final reveal.”
While Sight Lines Entertainment has made a name for itself with its brand of immersive, digital productions, Chew’s dream is to one day stage a Singapore musical: “[Something] we can proudly celebrate and that is Broadway-worthy enough to tour globally.”
His strong passion and belief in local talent is one reason he coaches young talent. “I have a background in branding and marketing and I am also an adjunct lecturer in Ngee Ann Polytechnic. During the pandemic, I taught young performers how to package themselves to stand out from the crowd,” he explains.
“This is important because new people fight for jobs every year. Performers need to understand themselves in terms of physicality, personality, and type. That way, they can focus, refine, and build upon what they’re best skilled at.”
Derrick Chew explains why branding is important for actors
Thespians should keep up with social media, according to him. “Performers need to understand that they are public figures, so the way they dress and present themselves at events is crucial to their overall success. A strong social media presence is also important because a good deal of directors and producers look for talent on these platforms. Putting yourself out there as a public figure can help bring in more opportunities.”
Collectively, Chew has worked hard to bring something new to audiences and performers for the sake of our art scene’s future. Singaporeans are not theatregoers like other cultures, he says. Young people tend to prefer cafes and malls to artistic events.
“However, we need to do more to support local talent. Some local works are better than international works. We must give ourselves a chance. If we don’t support our people, who will?”
Producer: Adora Wong
Art director: Chia Wei Choong
Videographer: Alicia Chong
Photographer: Mun Kong
Photographer’s assistant: Alfred Phang
Hair: Jenny Ng
Makeup: Keith Bryant Lee using Shiseido
