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This article considers the value of growing up stories among theatre practitioners in Singapore as a resource for learning theatre in multicultural contexts. It engages with the lived experiences of five Singapore theatre practitioners, Alfian Sa’at, Alvin Tan, Haresh Sharma, Kok Heng Leun and Ong Keng Sen, whose contributions to discourses on multiplicity and performance are significant in the city–state and internationally. Concepts of ‘Open Culture’ (Kuo. 1998. “Contemplating an Open Culture: Transcending Multiracialism.” In  Singapore: Re-Engineering Success , edited by Arun Mahiznan, and Lee Tsao Yuan, 55–60. Singapore: Oxford University Press), ‘postcolonial conviviality’ (Gilroy. 2005.  Postcolonial Melancholia . New York: Columbia University Press) and ‘critical multiculturalism’ (Goh. 2009. “Conclusion: Toward a Critical Multiculturalism.” In  Race and Multiculturalism in Malaysia and Singapore , edited by Daniel P.S. Goh, 213–218. London: Routledge) are proposed as useful frames for understanding theatre in multicultural contexts, and from which the idea of a ‘bricoleur imagination’ is derived.

(Un)learning theatre through stories of growing up: difference and multiplicity in Singapore