Editors
Matthew Lyon, Reviews Editor and Web Designer
Matthew was born in England, but was cast out of the country when it became clear he didn't like football and preferred coffee to tea. He now teaches Theatre Studies and Drama at Raffles Institution, and is in charge of Raffles Players, the drama society of the college section. Matthew has acted, directed and written for the stage in Singapore. He lives in a glass house with broken windows. He has been writing for the Inkpot since 1999.
Kenneth Kwok, Listings Editor and General Administrator
Kenneth was the founder of the Anderson Secondary School Drama Club during his time in the school as an English Language and Literature teacher. He has also written for and acted with various theatre companies in Singapore over the years, and has worked on community-based projects with the Singapore Drama Educators Association, the National Arts Council, the Substation, the Necessary Stage, etc. In 2007, he completed his Ed.M in the Arts in Education which included a course in critical writing about the arts. Formerly a secondary school Vice Principal, Kenneth is now pursuing his further studies at the National Institute of Education by day and fighting crime as an associate member of the Legion of Super Heroes by night. He has been writing for the Inkpot since 1999.
On a dark and stormy night, Malcolm decided to try his hand at ballet before rheumatism set in, and signed up for lessons at a local school. For two years, he worked on his sautés and développés while his teacher tried not to look. Modern-dance classes later inspired nightmares of Martha Graham, who would admonish him to dance from his vagina. Since then, he has been convinced that he is neither a turner nor a jumper and is glad to leave the dancing to others. He has been writing for the Inkpot since 2000.
Writers
Adele wants to think of herself as a writer but spends most of her time writing art criticism and theorizing about sex, death and the unconscious in art. She is a feminist but does not hold men in lesser regard. Other than the comforts of wine, women and song, she seeks solace in the pleasures of the theatre, cinema and internet. She has been writing for the Inkpot since 1999.
Deanne has been offering her (sometimes unsolicited) opinions on various areas of the performing arts since she was sent to Philadelphia to obtain a degree in English Literature and International Relations. She spent a large part of those years examining Modernism and looking for homosexual undertones in literary classics, after which her development continued in the area of defence affairs. She now enjoys a less classified worklife at the National Heritage Board, and dreams of living in an art deco building. Deanne reviews plays, opera, art, musicals and food, and has contributed to Singapore Architect and Wine & Dine magazines, as well as fifo.sg under the moniker ragetan. She has been writing for the Inkpot since 2004.
Yi-Sheng is a full-time writer of poetry, plays, reviews, news and corporate flash. His books include the poetry collection last boy, the non-fiction book SQ21: Singapore Queers in the 21st Century, and a novelisation of the film Eating Air. Occasionally, he also reviews for The Straits Times and The Substation Magazine and models for life drawing classes in the nude. And yes, he knows that it's probably a bad idea to be a playwright as well as a critic, but understands that the theatre scene here needs more of both. He's also got a professional blog at http://lastboy.blogspot.com, and is listed in Wikipedia in Swedish. Plus he won the Singapore Literature Prize (English category) in 2008. Woohoo! He has been writing for the Inkpot since 2005.
Amos has contributed poetry and theatre reviews to The Straits Times and online arts magazines The Substation Magazine and Quarterly Literary Review Singapore. He was also a judge for the 2008 Life! Theatre Awards. He is currently reading Law at the National University of Singapore. He has been writing for the Inkpot since 2006.
Stephanie trained at the Laban Center (UK), has a BA in Anthropology/Arts History and a Ph.D. in Contemporary Dance. She was the Artistic Director of Canberra Dance Theatre (1978-2001), was awarded the first Choreographic Fellowship at the Australian Choreographic Centre and an ACT Lifetime Achievement award, and has received Australia Council funding over several years for choreographic projects. Tasmanian born, she lives in Singapore, lectures at Singapore Management University and is a dance critic, writer and editor of Shifting Sands: Dance in Asia and the Pacific (2006) and Beyond the Apsara: Celebrating Dance in Cambodia (2009). She is also the series editor for the Routledge Celebrating Dance in Asia and the Pacific series. She has been writing for the Inkpot since 2006.
Vivienne finds moments of contentment in bringing drama into children's lives at school, learning communication psychology at NTU, and watching films or people on the MRT. She remembers the pains of performance by performing when she can, and inks afterthoughts on watching performances to balance the scales as performer and critic. Vivienne aspires to many things and tries to work as hard as she dreams. She has been writing for the Inkpot since 2007.
A young lawyer who has already sold her soul twice over: once to her future profession, and a second time to her government. When not enmeshed in the web-like intricacies of the law, Karin enjoys riding, climbing, tennis, a night out with friends, belting out a catchy song and having a good hearty laugh. She is addicted to anything Quite Interesting, and follows British comedies and satire with a passion that her friends can only shake their heads at with tolerant amusement. She is also quite the incorrigible theatre buff, and has been writing her own personal reflections and reviews on the plays and shows she's caught on her own blog for several years before joining the Inkpot team in 2009.
Rui An is presently occupied with serving the nation. He was previously a student at Hwa Chong Institution and is eagerly anticipating a fine arts education in London on a government scholarship. An independent filmmaker, aspiring visual artist and a theatre enthusiast, he writes as means to alleviate the tedium of army life and to keep his sanity in check. He also writes for The Online Citizen and Arteri Malaysia and maintains his own blog. He likes to believe that Singaporean youths are not apathetic, but are potential social activists waiting to be uncovered. Rui An joined the Inkpot team in 2010.