'It started as a passion project': Pangdemonium’s Adrian and Tracie Pang reflect on 16 years of theatre
After 16 years and over 40 productions, Pangdemonium will take its final bow at the end of 2026. Co-artistic directors Adrian and Tracie Pang reflect on family, legacy and ending on their own terms.
Husband-and-wife artistic directors Adrian and Tracie Pang started Pangdemonium in 2010 as a "passion project" to channel their love for theatre. (Photo: CNA/Izza Haziqah)
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When I arrived at Pangdemonium's office on a Friday evening, rehearsals for their upcoming production Force Majeure had just ended for the day. Costumes and props were being kept, the actors had all gone home, and a few remaining backstage crew were taking a breather at the pantry.
It might seem like just another wrap at the theatre company's Changi South base – except this time, the clock is ticking.
On Feb 2, the husband-and-wife team of Adrian and Tracie Pang, who serve as co-artistic directors, announced that Pangdemonium's 2026 season will be its last.
Force Majeure, opening in March, is the first of three shows in Pangdemonium's final season before the curtain falls. The show, written by Stephanie Street and starring the likes of Inch Chua, Benjamin Kheng and Ebi Shankara, will be followed by A Mirror in June and Come From Away in September.
Back in 2010, when it launched, Pangdemonium had promised “ass-kicking adventures in theatre”. And for over 15 years, it delivered.
From their very first show, The Full Monty, to subsequent shows like Spring Awakening and Into The Woods, the company has staged over 40 productions. These ranged from plays that explored mental health and existential crises to musicals highlighting sharp satires of capitalism and social behaviour – often with distinctly local twists.
Right before the Chinese New Year break, CNA Lifestyle sat down for a chat with the couple as they reflected on the journey – the highs and the lows of running a theatre company in Singapore, what it has meant to build something together for this long, and what it feels to be closing a major chapter of their lives.
A JOURNEY ROOTED IN LOVE FOR THEATRE
“Pangdemonium began because we loved theatre and we wanted to do things our way – it was something we did for ourselves,” said Tracie, as we settled in a cosy corner of their office.
“We looked at each other, eyes starry and bright with what felt like the whole world in front of us, and we thought, let’s do it. Come what may, let’s just do it.”
Adrian added: “It started as a passion project – there was no major vision or aspiration, there was no intention to grow or take over anything. It was like, let's just do something that we truly believe in and hope that people care, honestly.
“We started the company in 2010 when, you know, in the middle of a huge global recession, the last thing anybody probably needed was a theatre company,” he said, with a laugh.
Back then, of course, the 60-year-old actor was already a household name in Singapore showbiz, appearing in movies such as Forever Fever, I Do, I Do, and The Blue Mansion, as well as TV shows such as Portrait Of Home, Red Thread and Maggi & Me. Not to mention the odd hosting show (remember Deal Or No Deal?). Along the way, he garnered acting nominations and awards from Star Awards and the Asian Television Awards.
“Acting allowed me to discover many parts of myself,” he said. "And we just felt that theatre was something everyone, no matter how old or how much they were earning, needed in their lives."
Meanwhile, Tracie, who's in her late 50s, had years of experience working in theatre in the United Kingdom and in Asia. A former associate artistic director of Singapore Repertory Theatre, she would bring her directorial chops to Pangdemonium, eventually getting nominated multiple times for Best Director at The Straits Times Life! Theatre Awards, and winning in 2017 for her work on Falling.
The Pangs look back at Pangdemonium shows
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.”
With such pedigree and passion, the couple said that starting their own company felt less like a gamble and more like a natural extension of a shared devotion to the craft.
Their first production, The Full Monty, came out in June 2010. "It was so special to see our first show come to life and witness our first audience come together," said Tracie, looking misty-eyed. "We were still unsure if we could do it, but our supporters told us, yes, we could."
Their audience would grow and their shows would sell out. Season tickets – a first for a theatre company based in Singapore – were snapped up year after year, including for their final 2026 season.
HIGHS AND LOWS OF WORKING WITH FAMILY
The love they poured into Pangdemonium did not stop at the stage. It eventually spilled into their home and onto their two sons, Zachary and Xander, now 26 and 25, respectively.
Both were there from the start, taking turns to play their father's on-stage son in The Full Monty. They would later take part in other productions, including The Son, Dear Evan Hansen and Late Company.
“When people ask us how we establish boundaries between work and family, I’d ask them back, what boundaries?” Adrian said, with a laugh. “We told them to stay far, far away from theatre, but you know kids – they never listen.”
“As Pangdemonium grew, it became a family project, because our two sons wanted to get involved in the shows as well,” added Tracie. “They saw how we struggled in this industry since they were born, yet for some reason, instead of being put off by it, and despite our many ‘warnings’, they were drawn to it.”
It's been a blessing that as a family, as a foursome, the arts and theatre have been such a strong point of connection and closeness for us.
Working as a family inevitably came with its highs and lows. But for the Pangs, the closeness outweighed the strain.
“What family can work together? It's so rare to do that, we're so lucky to have been able to have those opportunities,” Tracie said. “We’ve come to believe that perhaps it’s the lack of boundaries that has cemented us as a family."
“It's been a blessing that as a family, as a foursome, the arts and theatre have been such a strong point of connection and closeness for us,” Adrian added.
Both sons are now actors pursuing projects in the United Kingdom and Singapore. Zachary recently played the titular character in a production of Aladdin at Chelmsford Theatre, which concluded in January, while Xander is part of local content creator Annette Lee’s directorial debut Dream Stall, set for release in mid-2026.
“That’s one of my proudest moments, actually – that we’ve been working for so long together and spending so much time together in this company, this industry, yet we’re so close as a family,” said Tracie, while giving Adrian, to whom she has been married for over 30 years, a knowing look.
“And of course, that we’re still together as husband and wife.”
“Oh yes, for sure,” Adrian quipped. “That – and that I still have my hair after all this.”
NURTURING TALENT IN THE LOCAL THEATRE SCENE
While part of the appeal of Pangdemonium was undoubtedly the presence of someone like Adrian Pang himself, the team was very conscious about discovering and nurturing emerging performers.
“It’s another thing we’re proud of – that we actively looked for new talent in Singapore,” said Tracie. “We wanted to make sure that the industry didn't become a clique for only a certain group of people."
Some of these talents include actor Andrew Marko, who played Joshua in Falling in 2017, and singer-songwriter Nathan Hartono, who was part of their 2012 production of Spring Awakening.
The couple chuckled as Tracie recalled the latter as a “boy just serving National Service” when he first started in Pangdemonium.
Casting young actors alongside veterans also helped to grow the audience.
We wanted to make sure that the industry didn't become a clique for only a certain group of people.
“Theatre across the world has always been something that only those who are older and often with more means can enjoy,” said Tracie. “But we managed to attract young people too, and that surprised me – it meant a lot to see young faces in the audience, enjoying what was personal to us."
Adrian added: “It has been encouraging to know when the shows and art you do attract and resonate not just with people your age but with a younger demographic – it makes me feel assured and humbled, touched, when I know that these kids feel seen when they watch theatre."
REALITY OF RUNNING AN ARTS COMPANY
Passion, however, has its limits.
While the Pangs recognise how much “ass-kicking” their theatre adventures have been, they also acknowledge the weight that comes with running not just a theatre company, but also a charity, a business, and an institution within Singapore’s arts ecosystem.
“I’ll always love theatre, I still do, but running a theatre company is very, very different from working for one,” said Tracie, with a sigh. “Sometimes it’s more company than it is theatre, when I want to be able to just direct and focus on the art of it all.”
She added: "When I walk into the theatre before a production's opening night, I'll be putting everything together, and I'll think about how I'm the luckiest person alive to do this job, because I love this job.
"But it's gotten to a point where I only say it during that week. And that's the thing – I don't want to get to a point where I don't say those things anymore."
Adrian continued his wife's train of thought: "The joy of putting on the shows themselves at times can be overshadowed by the encroaching larger percentage of your time and effort just running the business and doing everything else.
"There's no such thing as a sure thing in theatre, every show is a risk – and right now, as much as we love the craft, we may not want to risk too much anymore."
And it has indeed been a risk. In their February announcement, the Pangs had mentioned the challenges many theatre groups in general continue to face around the world, citing “inflated theatre production costs” and “worldwide economic uncertainty”.
One moment that stood out for the Pangs was the global pandemic in 2020, which shuttered theatres and reshaped audiences' watching habits.
The company was forced to pivot – that season began with The Son, starring Adrian and his son, Zachary, before they shifted to a digital production, Waiting For The Host, later that year in response to safe distancing measures.
"The pandemic was an insane period because at times it felt like we were out of work for months, we couldn't gather and do anything – it was extremely frustrating and soul-destroying – but we knew we could make it, we knew we could emerge better, and we did," Adrian said.
Whatever you do, just listen to the voices that might be telling you something, not necessarily in a negative way, but in a way that empowers you to make a firm decision to claim a new lease of life.
This time around, they're making decisions by choice, not circumstance. Adrian said he was certain he did not want to close when it was “too late”, or when he felt “too extremely jaded and done and cynical”.
The Pangs also emphasised, in a previous statement to CNA Lifestyle, that their decision to close was "not driven by cost pressures" and instead by a "personal leadership decision" to wrap up Pangdemonium with "intention and integrity".
They reiterated how fortunate they are to, as they say, “close on their own terms”. With the support of organisations such as the National Arts Council, Pangdemonium is also working to help find new roles and arts homes for their staff, who have a year’s runway before beginning anew elsewhere.
"To be honest, we never really thought about ending," Adrian said. "Five years ago, 10 years ago, it was always like, let's just keep on going.
"But it's different lately, and I feel it's important in everybody's life to, whatever you do, just listen to the voices that might be telling you something, not necessarily in a negative way, but in a way that empowers you to make a firm decision to claim a new lease of life."
Yes, they had explored the idea of succession but eventually, the theatre company’s board of directors decided that it was better to end it completely.
That said, they've been heartened by the outpouring of emotions across the industry.
“We hear the people's voices and their heartbreak – from the actors who worked with us just once to every sound designer, stage manager, even the critics who had not very nice things to say, and we appreciate every single word, but it’s time for this chapter to end and another to begin,” said Tracie.
ONCE AN ARTIST, ALWAYS AN ARTIST
As the Pangs continue to prepare for their final season, they are in no rush to map out life beyond 2026. That uncertainty, surprisingly, feels freeing. For the first time in 15 years, the calendar is not planned years in advance, and the pair welcome the blank spaces.
“I’ve no idea what I’m going to do in 2027, and somehow, that makes me feel at ease,” Tracie said.
Whatever comes next, she knows it will not be too far from theatre. It remains her first love, after all.
"As a producer and as an actor, Pangdemonium has furnished me with opportunities to tell stories and take on different roles that feel less of an escape and more of a chance to recognise the different sides of me," Adrian said. "These are parts of me that I can face and confront on stage – and that's a wonderful, incredible privilege."
He quickly added with a grin: "It's why I say the end of Pangdemonium is the end of my 16 years of therapy."
"It's been wonderful to welcome a new and young generation of theatre goers," Tracie said. "As we close this chapter for ourselves, I certainly hope and believe that people will continue to keep theatre in their lives, and that's how the industry keeps flourishing, developing and renewing itself."
Adrian echoes his wife's hopeful sentiment. Even amid growing cynicism about the arts in an increasingly digital age, he is certain that the arts will continue to flourish, even without the presence of their “proudly Singaporean theatre company”.
“The arts is what makes us human, and as long as we’re around, no matter what crazy new invention comes up, the arts will always be around,” he said.
He is encouraged by the emergence of new independent theatre companies in recent years: "There has to be space for the new players that come and form their own name on the stage – and the show, as it always does, must go on.”
Pangdemonium's Force Majeure will run from Mar 6 to 15 at Victoria Theatre. For more details, visit their website.
