Every year, George Town Festival (GTF) transforms Penang into a vibrant celebration of the arts, bringing together theatre, music, dance, visual arts and multidisciplinary performances from both local and international artists. Yet beyond the scale of the festival, what has always made GTF special for me is its ability to shine a spotlight on homegrown talent.
It is a place where emerging artists stand alongside seasoned practitioners, and where years of hard work culminate in performances that deserve to be seen by wider audiences.
Attending George Town Festival this year has been deeply heartwarming and honestly, a little emotional. Seeing so many young artists, old friends, and actors I've known over the years taking centre stage across GTF fills my heart with immense pride. Many of them have spent years honing their craft in intimate, community productions, and now they are commanding some of the festival's biggest stages. As someone who has watched many of these artistic journeys unfold, it feels incredibly rewarding.
The first production I caught was Matahari at The Majestic.
Watching Winnie Yap work her magic on stage once again reminded me why she remains such a remarkable performer. Her portrayal of a mother carrying unimaginable grief was delivered with extraordinary restraint and grace. Rather than relying on grand gestures, she allowed the emotions to simmer beneath the surface, making every moment feel painfully authentic.
The young ensemble, including Eunice and Xin Yuan Koay, was equally impressive. Hock Kheng's direction was stunning, while Da Ming's production design and the beautifully crafted lighting elevated the storytelling brilliantly. Every creative department worked in harmony to create a visually compelling theatrical experience.
If I had one reservation, I found myself wishing the script had explored its central metaphor - the “dying sun” - with greater depth. It is such a rich and powerful image that I felt there was still more to uncover. Even so, it was a proud moment to witness a Penang production confidently holding its own in one of GTF's major venue.
Then came TEWAS at The Courtyard, directed by Hil Ramli and Nicky Padzil, featuring Hong, Joey, Praveen, Beh and Afiq.
This production completely wrecked me.
Without question, it has been my favourite performance of GTF so far.
The sheer physicality of the performers, the bodies trapped within a cage, and the visceral screams drawn from real stories of bullying created an atmosphere that was almost unbearable - in the best possible way. Every time the cage flipped, my heart was in my throat. Combined with an eerie, unsettling soundscape, the production refused to let the audience look away from the violence and pain unfolding before them.
At the same time, I found myself longing for a few moments of stillness. Brief pauses to allow the audience to breathe and perhaps reflect on the psychology behind bullying - why bullies become who they are. That desire speaks less to a flaw in the production than to how invested I became in the world it created. I simply wanted to stay with its questions a little longer.
The line, "There is no light at the end of the tunnel," continues to echo in my mind. It is a chilling statement precisely because, for many victims, it reflects a painful reality.
Just two productions into the festival, GTF 2026 has already reminded me why this celebration of the arts matters. It is more than a showcase of performances; it is a testament to the strength, courage and growth of Penang's artistic community. Watching familiar faces and emerging talents share the spotlight has been one of the festival's greatest joys.
What an unforgettable start to George Town Festival 2026. Here's to another week of bold, honest and deeply moving theatre.
George Town Festival 2026 runs until 9 August. To explore the festival's full programme and other performances, click here.
About the writer:
Soonufat Supramaniam is a teacher, performance artist, and performance coach based in Penang. After graduating from the Australian National University, he trained extensively in physical theatre and Butoh dance theatre. Since returning to Malaysia, he has continued to teach, perform, and nurture the performing arts community through his work on and off the stage.
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