Jocelyn Chng is one of the 14 Citizen Reviewers selected from the 2016 Open Call application. She has been invited to continue on in the 2017, 2018 and 2019 cycles. “The Journey Continues” “Supervision” “Chinatown Crossings” “Civilised” “FLOWERS” “The Silly Little Girl and the Funny Old Tree” “Off Centre” “Q&A (The 36 Questions)” “Souvenir” “Tortoise Tales” “Double Bill: When The Cold Wind Blows/G.F.E.” “Too deep in the plot” “Out of place and time” “More to be unearthed” “True, but not clear” “In the Silence of Your Heart” “The Good Farmer” “I came at last to the seas” “If There’s Not Dancing at the Revolution, I’m Not Coming” “The Spirits Play” “Off Kilter” “Grandmother Tongue” “A House is not a Home…” “Every Brilliant Thing” “I love the art, and love is irrational.” “Those Who Can’t, Teach” “Prepare to be detained.” “Nobody will write a review for you.” “No day but today” “Teaching 101 – a conflicted overview” “We do not fight hate with hate.” “Chasing our dreams…together?” “Emily goes Broadway” “To literally have your heart walking outside of you” “Growling up the wrong tree” “A tale about man-eating demons and demon-eating men” 
REVIEWS BY JOCELYN
JOURNEY TO A DREAM by Emergency Stairs
Reviewed on 8 November 2019
SUPERVISION by Wild Rice
Reviewed on 8 August 2019
CHINATOWN CROSSINGS by Drama Box
Reviewed on 13 July 2019
CIVILISED by The Necessary Stage
Reviewed on 16 May 2019
FLOWERS by Drama Box
Reviewed on 2 May 2019
THE SILLY LITTLE GIRL AND THE FUNNY OLD TREE by Young People’s Performing Arts Ensemble
Reviewed on 5 April 2019
OFF CENTRE by The Necessary Stage
Reviewed on 9 February 2019
Q&A (THE 36 QUESTIONS) by Rachel Erdos and Dancers
Reviewed on 25 January 2019
SOUVENIR by Sing’theatre
Reviewed on 22 September 2018
TORTOISE TALES by Chong Gua Khee and Tan Liting
Reviewed on 6 September 2018
DOUBLE BILL: WHEN THE COLD WIND BLOWS/G.F.E. by Wild Rice
Reviewed on 13 July 2018
FRAMED, BY ADOLF by The Finger Players
Reviewed on 16 June 2018
THE MOON IS LESS BRIGHT by The Second Breakfast Company
Reviewed on 1 June 2018
THE HIDDEN by Kamini Ramachandran
Reviewed on 6 May 2018
I AM TRYING TO SAY SOMETHING TRUE by Michelle Tan
Reviewed on 12 April 2018
IN THE SILENCE OF YOUR HEART by Kaylene Tan
Reviewed on 5 April 2018
THE GOOD FARMER by TheatreWorks
Reviewed on 15 March 2018
I CAME AT LAST TO THE SEAS by The Theatre Practice
Reviewed on 23 February 2018
IF THERE’S NOT DANCING AT THE REVOLUTION, I’M NOT COMING by Julia Croft
Reviewed on 18 January 2018
THE SPIRITS PLAY by The Finger Players
Reviewed on 28 October 2017
OFF KILTER by TheatreWorks
Reviewed on 14 October 2017
GRANDMOTHER TONGUE By W!ld Rice
Reviewed on 4 October 2017
OPEN HOMES: LEMONS LEMONADE by Laura Schuster
Reviewed on 13 August 2017
EVERY BRILLIANT THING By Bhumi Collective
Reviewed on 21 April 2017
LAO JIU THE MUSICAL by The Theatre Practice
Reviewed on 7 April 2017
THOSE WHO CAN’T, TEACH by The Necessary Stage
Reviewed on 9 March 2017
DETENTION KATONG by Dream Academy
Reviewed on 18 February 2017
ACTOR, FORTY by The Necessary Stage
Reviewed on 3 February 2017
RENT by Pangdemonium
Reviewed on 7 October 2016
MICROMANAGE OVERWORK EXASPERATE by Dark Matter Theatrics
Reviewed on 30 September 2016
INTERNATIONAL FRIENDSHIP DAY by The Necessary Stage
Reviewed on 28 July 2016
GRC (GENG REBUT CABINET) by Teater Ekamatra
Reviewed on 15 July 2016
EMILY THE MUSICAL by Musical Theatre Limited
Reviewed on 21 May 2016
MOTHER I : AMMA NAAN : IBU AKU by Kalaiselvi Grace and Suhaili Safari
Reviewed on 8 May 2016
LA LOBA by Lenka Vagnerová & Company (Czech Republic)
Reviewed on 22 January 2016
RED DEMON by Nine Years Theatre
Reviewed on 3 March 2016
Jocelyn Chng
Jocelyn is a freelance educator, practitioner and writer in dance and theatre, and has written for various platforms since 2013, including The Flying Inkpot and Arts Equator. She holds a double Masters in Theatre Studies/Research, and a Postgraduate Diploma in Education (Dance Teaching). At the heart of her practice, both teaching and personal, lies a curiosity about personal and cultural histories; writing about performance allows her to engage with this curiosity. She sees performance criticism as crucial to the development of the performance landscape in Singapore, and a valuable opportunity to contribute to ongoing discussions about performance and society.
