Rock ’n’ roll has often been associated with several things—sex, drugs, youth or that antisocial dude stoning in a corner and talking to his guitar. We chat up producer Azrin Abdul Rahim, who tries to give rock music a more wholesome image in his newest offer, Rock Opera The Musical—A Rock Anthology, a Malay musical with English subtitles.

What’s the concept behind the show?
It’s a sequel to last year’s Rock Opera—An Artiste Life. The whole concept of Rock Opera The Musical—A Rock Anthology is to bring the appreciation for music, especially rock music, to a new level. We’re looking at how we can increase appreciation by including ethnic elements and an orchestra. Ultimately, the whole concept lies in this one liner: “progressing without leaving behind your roots.”

What kind of ethnic elements will we see?
There will be ethnic percussion instruments, and the story line is very multiracial. It talks about how the main character and his band, Roots in Motion, struggle for five years before they get signed as an artist under an Indonesian label. Their promoter is an Indian guy, and the main character is in love with a Eurasian girl.

Tell us more about the performers.
We have a blend of actors and four professional singers. The freelance actors have done stage and TV. I have full time musicians with me too. Look out for people such as Sulaiman Ekbah, Azyza and Eka Mairina.

Why do you choose to revolve the story around rock musicians?
I am captivated by the energy of rock music. Rock is a metaphor for energy in the show. In the ’80s, the top rock bands were the Malay groups. Rock music is what we as a community, is good at. It’s one of our achievements. When you think of a rocker, you think of a Malay guy. But now, there are a lot of negative opinions towards rock, and I want to turn things around. I hope to use the energy to bring across desirable values and beliefs.

The theme song is composed by revered Malaysian artiste M. Nasir. What is it about?
The title of the song is “Cin Tamuagung.” Literally translated, it means “greatness of love.” My personal view is that the song is about self awareness and love between people. But on another level, it’s also about the manifestations of love between man and his creator, saying how this love has no barrier and cuts through time.

Are all the songs featured in the musical rock numbers?
The musical tells a story about rockers, but in terms of music, we have different genres of music besides rock. We have ballads, pop, blues and more. The whole idea is to fuse everything well, and to make the music sound good and acceptable to the masses. I hope that at the end of the day, people can relate to it.

Do you intend to come up with a sequel next year?
Yes, some people may feel this show is not a full musical because there is quite a bit of dialogue being spoken instead of sung. Next year, I plan to produce a full blown musical, with more dialogue sung.

Watch—or listen—out as four piece Filipino band Bamboo takes its music to Singapore. Boasting a stellar lineup that includes Bamboo Manalac on vocals, Ira Cruz on guitar, Nathan Azarcon on bass and Vic Mercado on drums, this act has won many accolades and the thumbs up. We chat up these musicians, offer them bamboo shoots, and try to be friendly.

How was Bamboo started?
A few phone calls between old friends and luck played a part. The first jam we had was simply magical. We knew we had something special from then on. In 2003, we attacked every club and bar we could find just so we could play.

Ira claimed that “Bamboo” was chosen as the band name because it connotes strength and durability. Why the emphasis on these two qualities?
The name is about the bond and the journey we were all about to share as a band—that no matter what, we could weather any storm and stay strong. It’s our vision.

What sets Bamboo apart from other bands?
It has to be what each guy contributes to the process of making music. Each carries his own load and there’s a lot of freedom and trust within Bamboo, and that’s what sets it apart in my opinion.

Tell us more about your latest release, Light Peace and Love.
Time was the only enemy. This album was recorded in three months. To this day, we still wish we could redo a few things in the album but we are happy with the direction the album took. A lot of people were expecting a sound similar to that in our debut release, As the Music Plays, but this album took us somewhere else.

Ira claims that the lyrics for the songs in Light Peace and Love are heavier, as compared to the songs for As the Music Plays. Why?
This album is a personal one, a diary that records the roller coaster year we had. The songs in it talks about loss, commitment, hope and change are therefore, heavier than in As the Music Plays.

Is there anyone in particular you would like to collaborate with?
We’re excited to meet Singapore’s finest musicians and listen to new stuff. You never know what may come out of it.

Any hopes about your coming gig at Bar None?
We’re looking forward to see how the people react to our music. We hope people will really listen and enjoy the music we make, because this is who and what we are. We’re hoping they will come for the ride. It’s a bumpy one but sweet.

Do you have any advice for bands out there hoping to make it big?
Get up from bed and conquer the world.

Camp Comedy 2006 makes its debut. With a lineup that includes Kumar, Sebastian Tan, Rick Lau and Lounge-Zilla, it seems set to tease out guffaws. To be absolutely sure, we test its funny quotient by bantering with executive producer-cum-host Irene Ang—and find out about her sexy Pink Panther G-string.

What are some sure ways to make you laugh?
Talking to Mark Lee, looking at Kumar, rehearsing with Gurmit Singh and gossiping with Patricia Mok.

What do you do if you come across a really bad joke?
Laugh! Bad jokes are sometimes funny because they are so bad.

You were voted one of Her World’s 50 most powerful women. Tell us about the man behind you.
I have a few, you know. My dad, my brother, my ex-boss, my personal assistant, my hairstylist, my stylist, my confidante … They are all men!

What kind of jokes do you think are distinctly Singaporean?
I think some of the funniest jokes from Singapore are the Ah Beng jokes and the Singlish ones.

How does it feel being compared to Christy Chung, who signed up with Marie France Bodyline?
Christy is the Asian body of Marie France Bodyline. I’m only the Singapore-Malaysian one. So how to compare? But secretly, I tell you, hor, I’m always happy to see my poster next to hers when I go to Marie France for my treatment. Me ... right next to Christy Chung leh!

Describe your sexiest lingerie.
My Pink Panther G-string, very cute!

We notice you like to wear miniskirts often nowadays. Why?
I have only just started wearing them. I’ve always liked miniskirts and shorts. Last time I had thunder thighs and I don’t want to scare people. Now they’re not so bad, thanks to Marie France, so I can show them off. Singapore’s weather is so hot, so it’s also more comfortable!

Tell us about your first love.
My first boyfriend’s name is Bobby. He’s a breakdance champion! And he’s very tall and cute.

How about your first lust?
You mean Tom Cruise? I’m so over him!

Judy Collins has the voice of an angel. Singing interpretative folk songs with contemporary themes, this legendary songstress has inspired many with her classical piano and acoustic guitar. We sat down with her, dreamt of world peace, and showed her our sensitive sides.

You’re a veteran in the music scene. How did you get started?
My father had a radio show for 30 years. He was a singer, songwriter, performer—and he even plays the piano. I was sitting on the piano learning songs at five-years-old, and performed in a concert with an orchestra at 13.

So, how do you think you’ve grown over the years?
I am a better singer—my voice has improved and I have more experience under my belt now. And I’ve kept writing over the past 40 years, and that helps me to improve.

Do you prefer singing songs written by others or those you’ve penned yourself?
Well, I just prefer singing songs that I love. I discovered great writers who didn’t have recording contracts—I’m happy to sing for them. For example, I was the first person to sing Joni Mitchell’s songs. She didn’t have a recording contract when I knew her.

What do you think of music counterparts like Elaine Paige and Emmylou Harris then?
They are nice people who do interesting works. I think anyone who has a long career and gets to perform on stage every year gets my respect, because it shows that they are professional. Showing up in concerts, doing work, and not behaving like a brat.

You’ve inspired many with your songs about hope. What do you have to say about that?
Music is very healing, on an emotional level. It is very important for people to listen to music, and feel its spirit. Sometimes music works better than doctors! (Laughs).

We agree. Besides your songs, your book Sanity and Grace: A Journey of Survival, Suicide and Strength, which talks about the loss of your son, moves a lot of people as well. What’s the reason for writing a book about the tragedy?
I’m extremely flattered that many loved it. I am grateful that people found it interesting. When I get hurt, the only thing to do is to write about it. I find it extremely healing. Singing is very healing for me as well.

You’re politically active. For example, you were involved in protesting against the Vietnam War. What drives you to take part in these activities?
I am very opinionated. I have strong ideas about the world, and I want to make sure that my voice is heard. I try to go out and work for various registrations, and be engaged in different activities and doing the right thing, whether it is taking part in the 1964 Freedom marches in Mississippi or being involved in the Vietnam War. The important thing is to take a stand.

Who inspires or influences you?
My 90-year-old mother inspires me. She’s active, she reads, and she’s very involved in the lives of her five children. My dad is a big influence in my music as well, him playing the piano and being a singer-cum-songwriter. I listen to a lot of classical music too. I think it has more depth than pop. I grew up playing classical music. Beethoven and Chopin influence me quite a bit.

What can we look forward to in your coming concert?
I’ll sing hits like “Amazing Grace” and “Send in the Clowns.” There’ll be old songs as well as new songs.

Any hopes for your music?
I just hope I can keep on doing what I’m doing because I love it.

Albert Camus once said, “We have art in order not to die of life.” With the myriad of shows lined up for the coming Singapore Arts Festival 2006, we must say we never felt more alive.

The festival is reputed for its revolutionary shows. As Festival Director Goh Ching Lee quips, “It is an iconic festival with a bold and progressive programming. It is known for its embrace of the contemporary and cutting-edge, for presenting recent works and developing new commissions by leading contemporary artists from Singapore, Asia and beyond.”

This year’s lineup is no less radical. Experimental and collaborative shows abound to expand the boundaries of different arts genres. We bring you our picks. Look out for these revolutionary performances that’ll keep our hearts thumping.

Made in Singapore

Quest (Jun 1-3) is a triple bill consisting of contemporary dance offerings by Korean choreographer Kum Eun Hee, Chinese artist Gao Jin Zi and our own Jeffrey Tan. The talents from the Singapore Dance Theatre will exhibit a range of dance moves, from the explosive to the subtle, as they perform one bill after another. Expect them to groove not to the usual Western music but to Chinese music delivered by the Singapore Chinese Orchestra in this world premiere.

The central theme linking all three dances is man’s struggle for release and freedom. Jeffrey’s offering in “Quest, F.U.S.E.” specifically unveils the intricate relationship between man and nature. A ballet to folksy music composed by Tang Jian Ping, it is one of his more experimental works to date.

Also taking to the stage is the world premiere Forward Moves (Jun 9-10), a quartet of dances that speak of hope, tenderness and heartwarming moments. Catch these innovative works by Aaron Khek, Kuik Swee Boon, Danny Tan and Elysa Wendi.

For a mix of Indian and Chinese music, catch Ghana Sangam (Jun 11). A spectacular concert making its premiere this festival, it will be led by local composer and flautist Ghanavenothan Retnam. Joining him are Sri Nantha Kumar and Wu Tong, well versed in the Indian instrument tabla, and the Chinese instrument, sheng, respectively. Get set for a unique musical journey where boundaries take a back seat to artistic creativity.

The Phiharmonic Winds (Jun 3) isn’t a stranger to applause and standing ovations. This wind ensemble will dish out energetic pieces by composers, Frank Ticheli and Leonard Bernstein. Highlights of this concert include the performance of Josephs Schwantner’s work: More than 50 percussion instruments will belt out rousing beats on stage.

Besides impressive dances and concerts, our local acts have a slew of compelling theatrical productions lined up as well. In Geisha (Jun 9-10), New York-based performer Karen Kandel and classical Japanese dancer Gojo Masanosuke will weave magic with tales of geishas, maikos (apprentice geishas), clients, and okamisans (mama-sans).

Stereotypes and preconceived notions are overturned in Geisha. As director Ong Keng Sen explains, “Geisha is a piece with a Japanese man, then a black woman, as the geisha. Cultural codes are scrambled, and there’s gender-bending. It will be fun.”

Intercultural project Mobile (Jun 17-18) throws the limelight on foreign workers with whom we rub shoulders with everyday. An offering by The Necessary Stage, it involves local artists as well as performers from Thailand, Philippines and Japan. Mobile questions the nature of relationships as cross-cultural interactions increase.

More than a year’s work went into Mobile, due to the extensive research involved. Members of non-government organizations in Bangkok and Tokyo were interviewed. Shelters were visited and migrant workers were met. As such, it’s not surprising Mobile is The Necessary Stage’s greatest attempt to date in deconstructing the concept of a homogenous Asia by means of intercultural works. As Co-Director Alvin Tan claims, “Mobile marks our largest effort to reintroduce Asia as multiple ‘Asias’ on the world stage and resist a reductive reading of the exotic Asia.”

For a peek at how urbanization affects our feelings, identities, desires and memories, check out A Stranger at Home (Jun 8-10). This Mandarin production by the Drama Box tells the experiences and hopes of a teacher, a lover, an old woman, a medium and a terrorist. Searching for security, these individuals make pertinent decisions which affect their lives.

Directed by the award-winning Kok Heng Leun, this combination of theater, music, film and words will be unveiled together with a film by acclaimed filmmaker Royston Tan.

Foreign Talent

It’s a wild ride with ropes, horizontal bars, harnesses and prostheses in bODY_rEMIX/gOLDBERG_vARIATIONS (Jun 15-16). Under the guidance of Canadian choreographer Marie Chouinard, dancers utilize strange devices to execute innovative dance movements and showcase unusual body shapes to Bach’s Goldberg Variations.

This outrageous and playful dance was inspired by life itself. As Marie quips cheerfully, “I am trying to celebrate the mystery of life and its manifestations. Since I was born, I am always fascinated by the body. I am amazed that I can stand, that I can walk, and more.”

Prominent choreographers from Europe, Jiri Kylian, Lightfoot Leon and Johan Inger present an awe-inspiring contemporary triple bill, Bella Figura (Jun 20-21). Kylian blurs the boundaries between dreams and reality in a sensual ballet, while Lightfoot Leon amuses with a refreshing work revolving around space and perception. To keep things at a high, Inger will put on an uplifting dance telling the experiences of three women and the men in their lives.

Set against the mesmerizing music of avant-garde composer Steve Reich, Rain (Jun 23-24) is an exhilarating dance performed by the dancers from Brussels-based company Rosas. Watch out for the eminent Anne Teresa De Keersmaeker who leads the dance troupe.

If you are in the mood for some ingenious theater, check out Phobia (Jun 21-24). This eerie and cheeky piece by Australia’s Chamber Made Opera takes the audience back into the world of sound effects’ mavens in the ’50s and ’60s. Performers use weird props and methods of making sound effects to Hitchcock’s film Vertigo. Windscreen wipers, ice, celery, rubber bands are all collaborators in this original performance. It’s an eye—and ear—opener.

An innovative theater that cuts across time and space—that’s Play on Earth (Jun 15-18, 22, 24-25) for you. This transcontinental world premiere is a collaboration between UK’s Station House Opera, Brazil’s Philarmonia Brasileira and our very own TheatreWorks. Artists from these three organizations will stage the performance in their respective locales simultaneously. Together, they will act out a tale that will be screened to audiences in all three countries. Directed by Jeffrey Tan, Singapore’s production stars Gerald Chew, Lim Yu-Beng and Noorlinah Mohamed.

This cutting-edge play sets itself apart from other plays by its production process. “The major difference in the production process as compared to an ordinary play is the technical challenges involved—from the equipment to the Internet connection. As we seek to make connections visually and emotionally across all three countries, there is also a lot of coordination and synchronization as well,” says Tan.

The Great War (Jun 16-17) is a brilliant show which uses miniature sets to enact battle scenes. Watch how beans, plasticine, parsley and matches are animated, and projected onto a screen in real time. Speaking of the mindlessness of war, this creative production by The Netherlands’ Hotel Modern is worth catching for its ingenuity.

If you dig anime and comics, don’t miss Austria’s offering Samovar—Check out Chekov (Jun 3-4). Cartoons created by playwright Anton Chekov will be penciled live by Marcel Keller and Anja Sebanz and projected onto a screen with the help of clever camera techniques. Watch how these cartoons tell familiar stories which can be related to. It’s irony and dark humor at their best.

It’s a matter of life and death in Death and the Ploughman (Jun 2-4). Staged by USA’s SITI Company, the story was written by German Johannes von Saaz during the Medieval and Renaissance period of 1400 and adapted into English by Michael West. A restless farmer debates with death over the passing of his beloved, questioning faith, authority and hierarchy. Look out for razor sharp dialogue and rigorous acting.

And there you have it. A smorgasbord of daring and adventurous works are lined up in the coming Singapore Arts Festival 2006. With the myriad collaborations and inventive shows, the festival seeks to bring our arts scene to new heights. It’s bold and progressive art.

Singapore Arts Festival 2006 is from Jun 1-25 at various locations in town. Log on to www.singaporeartsfest.com for more information.

Safe Bets

Singapore Arts Festival hosts a wide diversity of shows. You bet there’s something for you if you dig more traditional entertainment as well.

Drought and Rain—Two Memories, Two Generations (Jun 2-3) Dancers from Vietnam exhibit their dexterity. Franco-Vietnamese choreographer Ea Sola presents a moving show about Vietnamese society.

The Vegetable Orchestra (Jun 7-9) This is where playing with food is allowed. Check out this orchestra which ditches flutes and trumpets for carrots and cucumbers to make music.

Jerusalem Dreaming (Jun 15-16) It’s a haunting concert with Israeli artist Victoria Hanna singing ancient music. She will share the stage with ensemble Israeli Contemporary String Quartet, and musicians from Mongolia and Germany.

Oslo Philharmonic Orchestra (Jun 21-22) Presenting Nordic works and acclaimed classical pieces, Norway’s respected export is bound to thrill.

John Williams and Richard Harvey’s World Tour (Jun 9) Find two amazing musicians fiddling with over 20 musical instruments. From the Irish harp to African drums, this concert promises to be memorable.

The newest offering by Cake Theatrical Productions, Queen Ping is a quirky take on how issues such as sexuality and power play out in the lives of four people. We sit down with one sweet couple—Rabbit, who burst into song every so often in the play, and Ape, who has a high sex drive—to find out what goes on in their heads.

First off, let us in on your role and your family responsibilities.

Rabbit: I am Rabbit, the daughter. My mother wants me to stay celibate. My father wants me to explore my sexuality. I don’t know what society wants. Thank God it hasn’t got a clue.

Ape: I am Ape, Rabbit’s husband, and I am free of responsibility. My mother-in-law is the queen but I am the law.

Okay, what is your take on love?

R: Love is in the air/Everywhere I look around/Love is in the air/Every sight and every sound/And I don’t know if I’m being foolish/Don’t know if I’m being wise/But it’s something that I must believe in/And it’s there when I look in your eyes.

A: Love will tear us apart eventually.

Tell us, what is one sign of a healthy marriage?

R: Love is in the air/In the whisper of the trees/Love is in the air/In the thunder of the sea.

A: Having regular sex on the ping-pong table is a sign of a healthy marriage.

What do you think of same-sex marriages?

R: I don’t care if it’s same sex or opposite sex, just have sex!

A: It’s not within my code of ethics.

According to the Durex 2005 Global Sex Survey, Singaporeans generally do not have sex very often. What do you think of that?

R: I know my mother is a prime example of someone who doesn’t have sex. Maybe we should have a nudity camp. That might encourage some free loving and free touching.

A: I am the prototype of an “Urban Romeo.” Durex should have used me as a template.

Personally, when is sex permissible?

R: Anytime, anyone. But always have protection.

A: Whenever you have the urge to let your beast out of the cage.

A soldier falls in love with an actress. The actress marries his uncle, who keeps a mistress. The mistress and the actress are attracted to each other. Years later, the actress gives birth to a child who grows to be a beautiful lady who in turn, falls in love with the soldier. Confused yet? We clear things up with the director of Aspects of Love, Monique Wilson.

What drew you to Andrew Lloyd Webber’s musical Aspects of Love?
It has wonderful music and a beautiful story, qualities that will appeal to any audience. It’s always a challenge and very exciting to produce any musical, and to breathe life, passion and soul into it.

How does Aspects of Love set itself apart from other romance musicals?
It is strongly driven by a storyline, as opposed to it being a vehicle for the musical numbers. What sets it apart is also its unconventional plot. It talks about the different aspects of love such as the love between two women, between three adults, between father and daughter, and between an older man and a much younger girl.

Wow, that’s confusing. The plot seems to imply that love is complicated and painful. Did the play make you see love in a different light?
The show doesn’t necessarily imply that love is complicated and painful, although it certainly can be when love is deep. It opened my mind to the various possibilities of love, and how we cannot and should not box our definitions of love in any way, because it is fluid and different for every individual. It made me understand love and the art of loving deeper.

Like you’ve said, the musical explores unconventional concepts of love—for example, that of a libertine—which neither demand nor offer fidelity. How do you think the audience will react?
I think audiences may be initially shocked, but will eventually accept it—that’s life after all. A libertine’s kind of love is something which shouldn’t be judged or moralized on. It’s about adjusting how we view life and love, and opening up our minds, so as to be able to accept differences more.

You are the director and play the lead Rose. It must have been tricky handling both roles. How did you pull it off?
Having Dee Cannon as the co-director of this show makes a huge difference. I initially directed the show, worked on the foundation and assembled the creative, production team and cast. Dee then came to work more specifically on the scenes and made sure that the whole show came together as envisioned. 

There are some intimate scenes in the musical. How do you and the cast open up to one another?
We do lots of improvisations, intimacy and team building exercises to foster trust, and essentially just keep ourselves emotionally open for the demands of the show. Filipino artists are genuinely emotionally open people, trusting and very connected to their emotions, so this wasn’t difficult at all.

If there was anything you can change about the plot of the musical—what part would that be?
There isn’t anything I would change about the show. I think it genuinely and honestly reflects how people live and love. It is a sweet, powerful romance about youth and love, reminding us that love changes everything, and will never ever let us be the same.

New Zealand is more than just about baaing sheep and wide open spaces. It has a thriving theater scene as well. As part of the New Zealand Festival, Singapore Repertory Theatre and the Indian Ink Theatre Company shine the spotlight on two plays which have broken box-office records in New Zealand and the UK—The Candlestickmaker and Krishnan’s Dairy. We chat with Jacob Rajun, the playwright and the star of the two shows.

You are a writer as well as a performer. How did you get started in both areas?
I was in Teacher’s College when I first got into drama and theater. I later went to the National Drama School in New Zealand, and thought theater was something I really wanted to do. As an Indian actor in New Zealand, there wasn’t a lot of work. Thus, I decided to create my own work, and that’s where the writing comes in.

What inspired you to pen Krishnan’s Dairy?
In my final year in the National Drama School, I had to come up with a piece of theater. I researched on a number of corner shops and was inspired by this story about the Taj Mahal that my aunt told me. That’s how Krishnan’s Dairy came to be.

How about The Candlestickmaker?
The Candlestickmaker reflects my own experience as a young 16-year-old returning to India. I was staying with my grandma while I was there and was reading a book about astrophysics. This play is a tribute to Sudramanyan Chandrasekhar, an Indian astrophysicist who won a Nobel Prize in 1995.

Are there any underlying messages that you are trying to convey?
Both plays are talking about what it is in life that gives us happiness. The stories speak of love, happiness, fear and immortality.

You are the main character in both Krishnan’s Dairy and The Candlestickmaker. How do you remember all the different dialogues and movements?
Both plays involve mask play. The masks aid me. When I put the mask on, I undergo a degree of transformation subconsciously. I slip into the voice of a different person. When I change the mask, I switch to another character. There’s nothing spooky about it, really.

Both plays have been hailed as two of the most significant works in New Zealand theater of late. How do you feel about that?
I feel great. I guess they represent a new voice. The Indian voice in the New Zealand theater is very new, so the plays sort of carved a path in the scene.

Tell us more about the theater scene in New Zealand. How different is it from other countries?
Unlike in Europe and the UK, we don’t have centuries of tradition over here. When you have a large heritage of theater, there is a sense of rigidity and a right way of doing things. We don’t, and that’s refreshing. A lot of times, we are just making things up.

Lastly, any goals for your career?
We’re working on another play which will be performed next year. It’s a play about fear. Fear is something we want to address because with things like terrorism and bird flu, today’s society seems like a fearful one. This play will be a comedy, for we want our audiences to leave the theater with bellies full of laughter.

There’s one. Hey, there’s another. Wait one more! Yes, despite the fierce competition, new bars and clubs are still popping up before our eyes. Being people who pride ourselves on being at the forefront of everything new, fun and exciting, we nobly braved nights of clubbing and drinking to bring you the newest bar babies in town.

Butter It Up

The latest of the slew of clubs spinning hip hop and R&B, The Butter Factory (#01-03 Riverside 48, 48 Robertson Quay, 6333-8243) unlocked its lip-lined doors in March. This babe was first conceived in August 2005 by Celeste Chong, Bobby Luo, Ritz Lim and Tay Eu-yen. These proud parents hope to repackage hip hop in Singapore. Expect to see street culture infused with the bling factor, and hear novel sounds from Asian DJs and MCs.

The Butter Factory is divided into two sectors—The Great Indoors and the Art Bar. Clubbers will feel right at home exploring the various sections of The Great Indoors, which are furnished to resemble different parts of an abode. The sleek bar, for example, is made to look like a cool kitchen, the red glittery Moet & Chandon VIP Lounge like a lavish bedroom, the funky chill-out section a barbecue area, and the dance floor a swimming pool.

After partying boisterously at The Great Indoors, merrymakers can rest their heels at the Art Bar. The décor is more laid back, but still holding true to the fun factor prevalent in the club. Ornamenting the place are bold, colorful and quirky cartoon characters who stared out at us very hard; we’ve never had so much attention. We hear 100 more pairs of cartoon eyes are going to join these characters soon.

Although there are several clubs spinning hip hop and R&B nowadays, The Butter Factory delivers a fresher sound. Besides having local DJs Drem and Mylk at the turntables, Asian turntablists and rap masters will be the focal point when creating the music list of the club. Japanese DJs Tashi, Fujimi and rap assemblage Triforce have already graced the decks, while Hongkong’s DJ Gruv is all set to conjure up some magic come Apr 30.

The music, outrageous décor, and most of all, the fun, set this new party venue apart from the rest. As Celeste chirps, “Where else can you drink beer from a BBQ pit, while having a gnome hold up your ass?”

On The Rocks

This unpretentious watering hole by rock DJ Syvester Henry may look humble, but it definitely packs a mean punch. Nestled away on the third floor of one of the shophouses lining the Singapore River, Chillies (75B Boat Quay, 9689-1154) is a small cozy bar which made its first cry on Apr 7.

The furnishings of Chillies are simple. Lava lamps, black sofas, red pillows with gold trimmings and posters of luminaries such as Chuck Berry and B. B. King craft a chilled-out atmosphere that invite everyone to unwind. We dig the centerpiece of the bar—a large projector which showcases music videos and concert clips. Beer guzzlers may smoke sheesha on the balcony under hanging drapes (which are actually saris belonging to Syvester’s mum). More sporting individuals can challenge one another to darts.

The selling point of this quiet bar is undoubtedly its song list. As Syvester quips, “Besides playing music by local bands, I play music by people who started rock, such as that by The Beatles, Elvis Presley and Led Zeppelin. The rock music that the other clubs play is different and more commonplace. They may play stuff by Bon Jovi, for example.”

This is not to suggest that other kinds of music cannot be found at this joint. The last time we were at Chillies, we caught a concert screened from the projector which saw Daniel Powter slamming on piano keys and members of Linkin Park jumping around on stage. Though primarily an old school rock ’n’ roll outlet, Syvester is a friendly guy willing to change the song list to suit the eardrums of different customers.

The crowd at Chillies is fairly diverse. Early hours see bankers and CEOs lounging away, whereas musicians, bartenders and pub staff trickle into the bar in the wee hours to sink their teeth into hot finger-licking chicken wings—the delicious creation of Chef Gerald Tan.

With weekly jam sessions featuring members from bands such as Heritage, Xbred and Ronin in the pipeline, things are going to get rocking hard in this new, modest bar.

In A Class of Their Own

Residing on the former premises of China Jump, Le Baroque (B1-07 Fountain Court, CHIJMES, 30 Victoria St., 6339-6696) is a bar, a restaurant and a dance club all rolled into one. The creation of Linda Tan, Jane Loo, Daniel Tong and Bee C Loh, this gothic party venue has caught the eyes of several expatriates, yuppies and professionals since it unveiled its elegant face.

This dame is sectioned into three parts. There is the landscaped alfresco space, the dance floor and the elevated lounge area. Lavish decadence is the underlying thread beneath its modern, gothic décor and ambience. From classy chandeliers to seductive paintings of Adam and Eve, dazzling gold-tinged walls to the cool main bar, Le Baroque exudes quiet sensuality.

Live acts lovers will dig the electrifying set by The Music Express. This six-piece outfit is fronted by crooners Rudy and Jess, and churns out groovy numbers and contemporary favorites that make you wanna dance, and dance some more.

It’s a wide variety of entertainment options housed snugly under one roof. We recommend you pig out on their sumptuous main courses and desserts, then check out the performance before hitting the alfresco area to chat and down your favorite drinks. We must give the service here a big thumbs up too. Waiters and waitresses hovered near our table the last time we were there—eager to clear our plates and take our orders, and not to eavesdrop on the juicy gossip we were sharing.

For breathtaking panoramic views of the South China Sea, il Lido Lounge Bar (Sentosa Golf Club, 27 Bukit Manis Rd., 6866-1977) is a sure bet. Overlooking the sea, the terrace of this stylish cocktail and wine bar is a hot spot for lovey-dovey couples to catch awe-inspiring sunsets and whisper sweet nothings to each other.

Besides providing stunning views of its surroundings, a pull factor of il Lido Lounge Bar is its plush designer furniture. Sit back, chill out to the cool sounds by X’Ho and appreciate the classic clean-cut contemporary pieces by Phillippe Starck, Arne Jacobssen, Antonio Citterio and Piero Lissoni.

Nibble traditional Italian finger food from thee restaurant and take your pick from over 400 wine choices. This well-stocked and dynamic cocktail and wine bar is for the sophisticates who wanna chill out to fabulous scenery after slogging away in the office.

Two other enclaves that urbanites will love are housed in the refurbished Red Dot Design Museum, or as it is more popularly known, the old traffic building. One of them, Skin (#01-05 Red Dot Design Museum, 28 Maxwell Rd., 6327-4638), is an exclusive and sexy bar that was conceived after Trevor Guan and Kaz spent hours daydreaming by the beach.

Think glimmering chandeliers, eye-catching ornaments hanging from the ceiling and black embossed wallpaper. The main hall of Skin simply exudes exotic bohemian vibes. Its alfresco area is no less luxurious. Featuring more clear-cut furnishings with some greenery, Skin is definitely a cool place to chill out at before you hit one of those boisterous clubs for a dance.

Expect ear candy to accompany the glamorous décor too. Ambient house music fills the air in the early evening hours before local DJs spin some chill out and soul numbers in the later hours.

Another newbie tucked away at the Red Dot Design Museum is Artery (#01-04 Red Dot Traffic Building, 28 Maxwell Rd., 6327-4820). This bar may be small, but it is quickly packing in drinkers who love its friendly vibes. The innovation of Ho Kee Lam and Ken Koo, Artery is breathing fresh life and blood into our nightlife and fast becoming a hot spot among the creatives.

To instill a sense of openness and to promote interaction among the patrons, the red, lush sofas in Artery are generally aligned in a row. The furnishings are clean with well-defined lines, and the ambience laid back and intimate. As Jess Kong, the manager of Artery says, “We want Artery to be a place where people feel as if they are coming home to their living rooms. It’s a more personal space where people in this table can talk easily to people at the adjacent table.”

There are plans to install plasma TV screens and revamp the outdoor area to
give the place a more edgy feel. Look out for their various upcoming events and promotions too.

So there you have it. The newest clubs and bars in town rocking our local nightlife scene. With the increased options to hang out at, we predict more satisfied souls filled with great drinks, good times and new friends.

From Latin to samba, rock ‘n’ roll to mambo, expect to be impressed by some of the world’s best dancers. We stared with mouths agape at the quick and fiery footwork ravaging the dance floor, before sitting down with Harry Medcalf—the veteran producer who has worked with Elton John, Carlos Santana, Queen, Frank Sinatra, Alanis Morrisette and more.

What inspired you to produce the dance musical Burn The Floor?
It began at Elton John’s 50th birthday event in London in 1997, where young ballroom dancers entertained. I was surprised at how they stopped a high- powered room in its tracks. Later, I met the dancers and was inspired. I wanted to work with them, and the idea of combining their talent with modern theater technology began there.

Tell us, what are some of the notable points of Burn The Floor?
We have incredible, young dance talent who are of world champion standard. It is an incredibly energetic and inspirational show. The choreography is complex and breathtaking to watch, but it is not a show for dance lovers only, but a show for everyone. 
  
What are the different genres of dances we can see?
We have a two-hour infectious marathon of rapidly shifting dance styles – swing and jive, tango and Paso, rumba, classic waltz to a turbo-charged, rock-jive.

Why the theme, “Would you like to dance with me?”
We want to be one with the audience, dance with them, and send them home happy, smiling, their feet dancing all the way.

How is the show different from other dance musicals?
I am flattered that we have been compared to other shows like Riverdance, but our show is full of different dance styles and levels of energy. The waltz scene is so beautiful that it can bring tears to your eyes, and the jive so energetic that it gets your feet moving.

Where has Burn The Floor traveled to so far?
Famous venues around the world, such as the Royal Albert Hall in London, Radio City Music Hall in New York, the Great Hall of the People in Beijing. We have played in 93 cities around the worlds.

Top brands such as Gucci, Versace, Dolce & Gabbana, Issey Miyake and Moschino sponsored the shoes and costumes. Why the decision to use high fashion to complement the dance?
The colors and fabrics are an inspiration for us. High fashion has a way of accentuating movement and style.

What is the most encouraging comment that you have received about Burn The Floor?
I received a letter from a man who had brought his very elderly grandfather to the show. It seems that one of our dancers had gone over to his grandfather during the show, reached over and held his hand. This man loved dance all his life, but was never allowed to dance himself. The dancer going over to him to hold his hand was very special, and for him, it was like a dream come true.