Casey Lim

By adelyn-1800, 21 April, 2021

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Executive Director

Organisation

Centre 42

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Casey, a graduate with a Bachelor of Science Degree in Computer and Information Science, is a trained musician and Director of Photography. He has been acting, directing, designing and creating digital images for more than 20 years.

Casey was the Associate Artistic Director of Theatreworks (1999). He co-founded Checkpoint Theatre and was the Co-Artistic Director from 2003 to 2007. He also served as a panel member in the Singapore Arts Festival’s Programme Advisory Committee from 2003 to 2006. He was the creative director for the Army Museum Object Theatre in 2007, and was the multimedia consultant for Singapore Armed Forces’ NS45 island-wide exhibitions in 2012.

As a theatre director, Casey has always staged plays that were written by local playwrights, including Chong Tze Chien’s PAN ISLAND EXPRESSWAY (1999); Huzir Sulaiman’s ATOMIC JAYA (2003); Michael Chiang’s PRIVATE PARTS (2004); Chay Yew’s A LANGUAGE OF THEIR OWN (2006); and in 2012, he collaborated with Robin Loon to translate A LANGUAGE OF THEIR OWN into 男男自语, staged by the Singapore Arts Festival 2012. He collaborated again with Robin Loon to create CASTING BACK (2012), for Esplanade’s 10th birthday celebration, a postdramatic piece with 2 performers (Nora Samosir and Christina Sergeant) tracing Singapore Theatre for the past 30 years.

As a digital video designer, Casey’s explorations with digital aesthetics have resulted in many collaborations and projects that intersect with text, bodies and spaces. One such collaboration was INSTANT IS A MILLENNIUM, with Maestro Ye Tsung of SCO and Tan Swie Hian. This collaboration was the opening show for Singapore Arts Festival 2003. Later in 2005, it toured to London’s Barbican Centre and Newcastle’s The Sage Gateshead.

In terms of incubation work, Casey was the artistic director of GTG: Got To Go – an all-night festival of new writing for the Singapore stage organized by TheatreWorks in 1998. Casey curated a series of new writings from up-and-coming playwrights and established writers for a 12-hour round the clock staging on various sites on Fort Canning.

He is one-fourth of collective TAFY (Two-And-Fifty-Years) which founded the Centre in 2014. Casey’s decision to head the centre as its Executive Director is a testimony of his commitment to the arts in Singapore. He is looking forward to working with, talking and listening to artists and practitioners in Singapore and beyond. Casey is deeply committed to the collaborative processes involving writers, actors, dramaturgs and directors in the creation of new works and the reviving of canonical classical pieces.

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He co-founded Checkpoint Theatre and was the Co-Artistic Director from 2003 to 2007. He also served as a panel member in the Singapore Arts Festival\\u2019s Programme Advisory Committee from 2003 to 2006. He was the creative director for the Army Museum Object Theatre in 2007, and was the multimedia consultant for Singapore Armed Forces\\u2019 NS45 island-wide exhibitions in 2012.\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/p\\u003E\\r\\n\\r\\n\\u003Cp\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003EAs a theatre director, Casey has always staged plays that were written by local playwrights, including Chong Tze Chien\\u2019s \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003EPAN ISLAND EXPRESSWAY\\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E (1999); Huzir Sulaiman\\u2019s \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003EATOMIC JAYA \\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E(2003); Michael Chiang\\u2019s \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003EPRIVATE PARTS \\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E(2004); Chay Yew\\u2019s \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003EA LANGUAGE OF THEIR OWN\\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E (2006); and in 2012, he collaborated with Robin Loon to translate \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003EA LANGUAGE OF THEIR OWN \\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003Einto \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003E\\u7537\\u7537\\u81ea\\u8bed,\\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E staged by the Singapore Arts Festival 2012. He collaborated again with Robin Loon to create \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003ECASTING BACK\\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E (2012), for Esplanade\\u2019s 10\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003Eth\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E birthday celebration, a postdramatic piece with 2 performers (Nora Samosir and Christina Sergeant) tracing Singapore Theatre for the past 30 years.\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/p\\u003E\\r\\n\\r\\n\\u003Cp\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003EAs a digital video designer, Casey\\u2019s explorations with digital aesthetics have resulted in many collaborations and projects that intersect with text, bodies and spaces. One such collaboration was \\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cem\\u003E\\u003Cspan\\u003EINSTANT IS A MILLENNIUM\\u003C\\\/span\\u003E\\u003C\\\/em\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E, with Maestro Ye Tsung of SCO and Tan Swie Hian. This collaboration was the opening show for Singapore Arts Festival 2003. Later in 2005, it toured to London\\u2019s Barbican Centre and Newcastle\\u2019s The Sage Gateshead.\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/p\\u003E\\r\\n\\r\\n\\u003Cp\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003EIn terms of incubation work, Casey was the artistic director of GTG: Got To Go \\u2013 an all-night festival of new writing for the Singapore stage organized by TheatreWorks in 1998.\\u0026nbsp; Casey curated a series of new writings from up-and-coming playwrights and established writers for a 12-hour round the clock staging on various sites on Fort Canning.\\u0026nbsp;\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/p\\u003E\\r\\n\\r\\n\\u003Cp\\u003EHe is one-fourth of collective TAFY (Two-And-Fifty-Years) which founded the Centre in 2014. Casey\\u2019s decision to head the centre as its Executive Director is a testimony of his commitment to the arts in Singapore. He is looking forward to working with, talking and listening to artists and practitioners in Singapore and beyond.\\u0026nbsp;\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003E\\u003Cspan\\u003ECasey is deeply committed to the collaborative processes involving writers, actors, dramaturgs and directors in the creation of new works and the reviving of canonical classical pieces.\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/span\\u003E\\u003C\\\/p\\u003E\\r\\n\"}]"}