16 years of Pangdemonium – Adrian and Tracie Pang reflect on legacy, family and Singapore theatre

The Full Monty (2010)

Adapted from the 1997 British film, The Full Monty follows six unemployed steelworkers who decide to form a male striptease act to earn money and reclaim their dignity. Beneath its comedic surface, the musical explores masculinity, friendship, economic insecurity and self-worth.

Tracie described this first Pangdemonium production as being the most memorable for her, as the warm reception it got encouraged them to continue.

Spring Awakening (2012)

The rock musical follows a group of teenagers in the 19th century who navigate sexual awakening, repression and mental health in a rigid German society. The show deals with themes of suicide, abuse, identity and generational silence.

“I have a very soft spot for Spring Awakening, almost the whole cast were new, fresh graduates,” Adrian said. “They were just so hungry, and the ensemble that came together was so tight and so loving and so giving of themselves. It was a very special production.”

Rabbit Hole (2013)

This drama centres on a couple grieving the accidental death of their young, four-year-old son. The play examines loss, marriage, guilt and the fragile process of healing.

To Adrian, the play was “very special” because of its difficult themes and the emotional range of the character he played.

“The writing is exquisite,” he said. “It’s one of the best pieces of writing I’ve been lucky enough to be part of.”

Next To Normal (2013)

The musical follows a suburban family grappling with bipolar disorder and unresolved trauma following the loss of a child. Through rock-driven music, the show explores mental illness, grief and the complexity of memory.

“I also have a soft spot for Next To Normal,” Adrian said. “The storyline was just so gut-wrenching and, I suppose, in many ways, kind of close to home.”

“This was the play I realised that young people are not afraid of these gut-wrenching, heartbreaking stories about dead children, bipolar disorder and fractured families,” said Tracie. “It meant a lot that people left the theatre and were like, going, whoa, okay, this is real life.”

The Pillowman (2017)

The dark psychological drama follows a writer interrogated by authorities when gruesome child murders resemble the violent stories he has written. The play examines censorship, storytelling, morality and the impact of fiction.

Before the 2017 production, the play was previously staged by Singapore Repertory Theatre in 2007 and was also directed by Tracie Pang and starred Adrian Pang.

“One of my favourite plays to produce has got to be Pillowman,” Adrian said. “I had so much fun on it. I love each iteration that we’ve done, I just re-fall in love with it every time.”

“It’s so dark, so dark,” Tracie added.

Late Company (2019)

This contemporary drama centres on a dinner between two families after one teenage boy dies by suicide following cyberbullying. The play confronts accountability, grief, privilege and digital-age cruelty.

“I just loved working on Late Company,” Tracie said, highlighting how the challenging themes felt very important to explore on stage.

The Son (2020)

This play follows a teenager struggling with depression as his divorced parents‘ desperate, often futile attempts to fix him with love and logic. It examines mental health within modern family structures, parent-child relationships, and depression.

“I absolutely loved working on The Son, directing both Adrian and Zachary was so tough but so creatively enriching in many ways,” Tracie said.

Dear Evan Hansen (2024)

The musical follows socially anxious teenager Evan Hansen, who becomes entangled in a lie after a classmate’s death leads others to believe they were close friends. The show explores grief, mental health, loneliness, social media and the desire to belong.

“Dear Evan Hansen is special because we chased it for so long,” Adrian said. “It was something we wanted to do for such a long time, and it’s a story and a production and a story and music that means so much to a generation.”

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