Aya Ogawa is a playwright, director, performer and Japanese-to-English translator for theater. The plays she created and directed include The Nosebleed (Incoming! Under the Radar), Ludic Proxy (The Play Company), Journey to the Ocean (Foundry Theatre), and oph3lia (HERE). Most recently she directed Kristine Haruna Lee’s Suicide Forest at The Bushwick Starr. She has translated numerous Japanese plays into English that have been published by Samuel French among others, and produced in the U.S. and U.K. She is a resident playwright at New Dramatists, a Usual Suspect at NYTW, an Artist-in-Residence at Brooklyn Arts Exchange and recipient of the President’s Award in Performing Arts, LMCC. ayaogawa.com

Chea Sokyou writes and directs for theatre and cinema in Cambodia. Chea’s wide range of experiences in filmmaking has helped her to develop her skill in playwriting. In 2015-2016, Chea was commissioned to develop and write a play to promote peace and civil courage in society. The work has since toured to various schools in Cambodia. 

Ibed Surgana Yuga was born and raised in Bali, Indonesia. He studied theatre with a major in directing at the Indonesia Art Institute, Yogyakarta. He writes and directs for his theatre company, Kalanari Theatre Movement. His background as a Balinese, steeped in rites and ceremonies, marks his unique approach to theatre. His plays mostly take place in Bali, with Balinese characters. Red Jangeris his newest play, about how members of a Balinese family remember political violence from the past.

Jean Tay has written over 20 plays and musicals, including Chinatown Crossings, The Shape of a Bird, Senang, Everything but the Brain, Boomand Plunge. Her plays have been performed in Singapore, US, UK, and Italy.  She has been nominated four times for Best Original Script for the Life! Theatre Awards, and won for Everything But the Brainin 2006.  Her plays Everything but the Brainand Boomhave been used as ‘O’ and ‘N’ Level literature texts for secondary schools. Jean is the founding Artistic Director of Saga Seed Theatre, which aims to provide a platform for new writing in Singapore.

Maria Christina A. Pangan, also known as Tina Pangan (in Filipino, meaning emboldened) is a government employee by day and a dreamer at night. She writes poetry and plays. She has various experiences in theatre productions, albeit voluntary, ranging from being a production manager to playing a dead character.

Nophand Boonyai started out his acting career in 2006, working in TV and film. His passion in the craft then took him into theatre where he practiced the art with some of Bangkok’s leading theatre troupes. He wrote and directed his first play in 2008 called Sunflowerwhich won him the Best Play award at the Bangkok Theatre Festival. He went on to create more plays throughout the years, including Utopian Malady, Happy New Year Mr Smithand Co/Exist. In 2017, Nophand founded the company Fullfat Theatre. In 2018, his play Taxi Radiowon Best Original Script at the International Association of Theatre Critics Thailand Dance and Theatre Awards. 

Ridhwan Saidi is a Malaysian novelist, playwright, leftfield theatremaker and filmmaker. He co-founded indie publishing house, Moka Mocha Ink (mokamochaink.com) which focuses on contemporary Malay fiction and drama. Teater Modularis his series of short plays consisting of 13 offbeat playlets, whilst Teater Normcore is his series of full length plays, both with the intent to illuminate poetry and heighten appreciation towards deadpan humour. His works deal mainly with dreams, memory and mystery. In 2019, he co-curated Pesta Playlet, an artist-run non-profit common ground for performance-based initiative through community building, research, workshop, discourse and publications.

Suguru Yamamotois a rising playwright and director born in 1987. In 2007, he started a theater company named Theatre Collective HANCHU-YUEI. Harnessing his interdisciplinary arts education across cinema, literature, music, and visual arts, Suguru Yamamoto constructs a theatrical world vividly reflecting contemporary shifts in ethics and the circulation of information. Girl Xwon Best Play and Best Original Script awards at the Bangkok Theatre Festival in 2014.