"so happy i could die" is described as an immersive and participative theatrical event, that invites audiences to reflect on the meaning of fulfilment and the consequences of the choices they make. Part of Theatresauce's seventh-year anniversary showcase, we find out more about the play which asks - can happiness, fulfilment, and acceptance go hand-in-hand with an impending expiry date? Joining us is the director and producer of the play, Low Yee Choy.

<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.cloudjoi.com/shows/so-happy-i-could-die">"so happy i could die"</a> is described as an immersive and participative theatrical event, that invites audiences to reflect on the meaning of fulfilment and the consequences of the choices they make. Part of Theatresauce's seventh-year anniversary showcase, we find out more about the play which asks - can happiness, fulfilment, and acceptance go hand-in-hand with an impending expiry date? Joining us is the director and producer of the play, Low Yee Choy.

Don’t be afraid of the arts. You too can enjoy it! Don't believe us? Tune in to Front Row to find out about the best shows and exhibitions that will recharge your brain and restore your spirit, as told by the producers, performers and artists themselves.

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so happy i could die

There are some conversations that only come with time, shared history, and a lot of lived experience. God’s Waiting Room feels like one of those conversations. Opening klpac’s 2026 season, this new play looks at old age, companionship, and the strange in-between space of waiting, through characters who are funny, irritable, vulnerable, and deeply human. It is written and directed by Joe Hasham OAM, with Dato' Dr. Faridah Merican returning to the stage in a role that feels especially close to home. We spend some time with both of them to talk about the play, their journey, and what it means to keep telling stories at this stage of life.

There are some conversations that only come with time, shared history, and a lot of lived experience. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.cloudjoi.com/shows/gods-waiting-room">God’s Waiting Room</a> feels like one of those conversations. Opening klpac’s 2026 season, this new play looks at old age, companionship, and the strange in-between space of waiting, through characters who are funny, irritable, vulnerable, and deeply human. It is written and directed by Joe Hasham OAM, with Dato' Dr. Faridah Merican returning to the stage in a role that feels especially close to home. We spend some time with both of them to talk about the play, their journey, and what it means to keep telling stories at this stage of life.

God’s Waiting Room

Anime music, a full symphony orchestra, and over 120 musicians on one stage - that’s the promise of Encounter: Anime 2.0. Presented by AOrchestra, this community-driven concert brings iconic anime themes to life through brand-new orchestral arrangements, featuring music from Naruto, Jujutsu Kaisen, One Piece, Studio Ghibli, and more. We find out more from producer Alvin Ong, the Founder of AOrchestra, and violinist Justin Lai, one of the show's conductors, and a member of AOrchestra.

Anime music, a full symphony orchestra, and over 120 musicians on one stage - that’s the promise of <a target="_blank" rel="noopener noreferrer nofollow" href="https://onetix.com.my/events/encounter-anime-20/486">Encounter: Anime 2.0</a>. Presented by AOrchestra, this community-driven concert brings iconic anime themes to life through brand-new orchestral arrangements, featuring music from Naruto, Jujutsu Kaisen, One Piece, Studio Ghibli, and more. We find out more from producer Alvin Ong, the Founder of AOrchestra, and violinist Justin Lai, one of the show's conductors, and a member of AOrchestra.

Encounter: Anime 2.0

When we talk about the death penalty, it is often discussed in numbers, laws, and policy debates. But behind every sentence is a human life, and a ripple effect that reaches families, lawyers, prison officers, and entire communities. At a time when Malaysia has repealed the mandatory death penalty but continues to retain capital punishment in law, questions about justice, humanity, and accountability remain deeply unresolved. Tali Tukang Gantung is a new theatre project presented by the Malaysian Centre for Constitutionalism and Human Rights (MCCHR), the Anti-Death Penalty Asia Network (ADPAN) and Amnesty International Malaysia, that draws directly from real interviews with people connected to Malaysia’s death penalty system, bringing their lived experiences to the stage. Joining us to talk about this powerful work are performer Deena Dakshini, who carries these stories in a solo performance, and Janice Ananthan, the show's producer and a Project Officer at the Anti Death Penalty Asia Network (ADPAN). 

When we talk about the death penalty, it is often discussed in numbers, laws, and policy debates. But behind every sentence is a human life, and a ripple effect that reaches families, lawyers, prison officers, and entire communities. At a time when Malaysia has repealed the mandatory death penalty but continues to retain capital punishment in law, questions about justice, humanity, and accountability remain deeply unresolved. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.cloudjoi.com/shows/4685-tali-tukang-gantung">Tali Tukang Gantung</a> is a new theatre project presented by the Malaysian Centre for Constitutionalism and Human Rights (MCCHR), the Anti-Death Penalty Asia Network (ADPAN) and Amnesty International Malaysia, that draws directly from real interviews with people connected to Malaysia’s death penalty system, bringing their lived experiences to the stage. Joining us to talk about this powerful work are performer Deena Dakshini, who carries these stories in a solo performance, and Janice Ananthan, the show's producer and a Project Officer at the Anti Death Penalty Asia Network (ADPAN).

so happy i could die

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