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In a wealthy Asian city, a play asks why St. Clare of Assisi chose to own nothing #Catholic SINGAPORE — St. Clare of Assisi, as she appears on a church stage in Singapore this week, opens her story with a list of what her family owned. “We had money, we had servants … we had horses,” she tells the audience. “We had everything, but for a girl like me, my life was already written for me.”The line comes early in “TO GAZE: St. Clare of Assisi,” performed Oct. 16 and 17 at the Church of St. Mary of the Angels, a Catholic parish in Bukit Batok in western Singapore served by Franciscan friars. The official poster for “TO GAZE: St. Clare of Assisi,” presented by CANA and Saint Max in Singapore Oct. 16–17, 2026, for the Jubilee Year of St. Francis, with Sharda Harrison as St. Clare and Fra Rowland Yeo, OFM, as St. Francis. | Credit: Courtesy of CANA and Saint Max Presented by CANA, a faith-based community and cultural hub in Singapore, and Saint Max, the production is part of the celebrations of the Jubilee Year of St. Francis of Assisi, which the worldwide Franciscan family has held to mark 800 years since Francis died in October 1226.Actress Sharda Harrison wrote the script and plays the role of Clare; according to the organizers, she also directed the show. Fra Rowland Yeo, OFM, a Franciscan friar, plays St. Francis, and the productionʼs poster says all proceeds go to the development office of the Franciscan friars. Fra Michael D’Cruz, OFM, welcomes the audience before the performance Oct. 16, 2026, in Singapore. | Credit: Benedict Tang An organizer from CANA who asked not to be named said that after a year of jubilee celebrations for Francis, the play was a fitting way to close the celebration with “the precious legacy of St. Clare.” The group turned to Harrison, the organizer said, because she had portrayed St. Thérèse of Lisieux for them in 2024 in “St. Thérèse: The Little Way,” a play she also wrote and directed.Asked what audiences should take home, the organizer answered with a question: “Why is poverty a privilege? … Why is this crazy lady Clare so resolved to live it?” The second and last performance falls on Oct. 17, the United Nations' International Day for the Eradication of Poverty. Sharda Harrison, barefoot, addresses the audience as St. Clare at the first performance of “TO GAZE: St. Clare of Assisi,” Oct. 16, 2026. | Credit: Benedict Tang Medieval marriage, modern ‘swiping’In a city-state where Catholics live alongside Buddhists, Muslims, Hindus, Taoists, and others, the script reaches for references from everyday modern life. When Clareʼs father looks for a husband for her, suitors appear on a large screen: Guido, Bernardo, and Silvestro, “my fatherʼs favorite.” Clare asks the audience to vote. “In your time … you swipe right if you like the boy, and you swipe left if you donʼt like the boy,” she says.The comedy gives way to the turning point of her life. Clare describes Francis as a merchantʼs son “born into wealth just like me.” She says: “I realized that I had everything, but I wanted none of it.” She slips out of her family home on Palm Sunday night, has her hair cut before Francis, and faces her furious father: “I belong to Christ now, Father.”It is not a one-woman show. Other actors play Clareʼs companions and the early friars, and Clare pulls women from the audience into the story, choosing them as “sisters” and giving them vows as her community grows. Clare’s hair is cut as she gives up her life of privilege, with Fra Rowland Yeo, OFM, as St. Francis, at a performance in Singapore on Oct. 16, 2026. | Credit: Benedict Tang ‘The right to possess nothing’Poverty runs through the script. Clare recalls that her mother, Ortolana, “saw God everywhere, especially in the poor,” and adds: “They were not hidden like today.”“This is what it means to live in the privilege of poverty,” she says, “to be given the right to possess nothing.” The world, she tells them, “did not understand. Not even the Church.”The title of the play echoes Clareʼs letters to St. Agnes of Prague, a princess who, in the playʼs words, “decided to give up everything to become a poor lady.” In welcoming remarks before the curtain, Fra Michael DʼCruz, OFM, the Franciscan friar overseeing the event for the parish, quoted those letters and described how the two saints, Clare and Francis, worked together. “Francis was the voice; Clare was the quiet powerhouse of prayer,” he said.Near the end, Clare looks back on a life of refusals. “Perhaps saying no was never the whole point,” she says. “I had to learn how to say yes, yes to Christ, yes to poverty.”After the cast took their bow on opening night, Harrison dropped Clareʼs Italian accent to thank those present “for wanting to be here to listen to Clareʼs story,” promising “a bigger, grander farewell” for the last night.St. Clare died in 1253 at San Damiano, near Assisi, Italy, her home “for the next 40 years,” as she says in the script.
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In a wealthy Asian city, a play asks why St. Clare of Assisi chose to own nothing #Catholic SINGAPORE — St. Clare of Assisi, as she appears on a church stage in Singapore this week, opens her story with a list of what her family owned. “We had money, we had servants … we had horses,” she tells the audience. “We had everything, but for a girl like me, my life was already written for me.”The line comes early in “TO GAZE: St. Clare of Assisi,” performed Oct. 16 and 17 at the Church of St. Mary of the Angels, a Catholic parish in Bukit Batok in western Singapore served by Franciscan friars. The official poster for “TO GAZE: St. Clare of Assisi,” presented by CANA and Saint Max in Singapore Oct. 16–17, 2026, for the Jubilee Year of St. Francis, with Sharda Harrison as St. Clare and Fra Rowland Yeo, OFM, as St. Francis. | Credit: Courtesy of CANA and Saint Max Presented by CANA, a faith-based community and cultural hub in Singapore, and Saint Max, the production is part of the celebrations of the Jubilee Year of St. Francis of Assisi, which the worldwide Franciscan family has held to mark 800 years since Francis died in October 1226.Actress Sharda Harrison wrote the script and plays the role of Clare; according to the organizers, she also directed the show. Fra Rowland Yeo, OFM, a Franciscan friar, plays St. Francis, and the productionʼs poster says all proceeds go to the development office of the Franciscan friars. Fra Michael D’Cruz, OFM, welcomes the audience before the performance Oct. 16, 2026, in Singapore. | Credit: Benedict Tang An organizer from CANA who asked not to be named said that after a year of jubilee celebrations for Francis, the play was a fitting way to close the celebration with “the precious legacy of St. Clare.” The group turned to Harrison, the organizer said, because she had portrayed St. Thérèse of Lisieux for them in 2024 in “St. Thérèse: The Little Way,” a play she also wrote and directed.Asked what audiences should take home, the organizer answered with a question: “Why is poverty a privilege? … Why is this crazy lady Clare so resolved to live it?” The second and last performance falls on Oct. 17, the United Nations' International Day for the Eradication of Poverty. Sharda Harrison, barefoot, addresses the audience as St. Clare at the first performance of “TO GAZE: St. Clare of Assisi,” Oct. 16, 2026. | Credit: Benedict Tang Medieval marriage, modern ‘swiping’In a city-state where Catholics live alongside Buddhists, Muslims, Hindus, Taoists, and others, the script reaches for references from everyday modern life. When Clareʼs father looks for a husband for her, suitors appear on a large screen: Guido, Bernardo, and Silvestro, “my fatherʼs favorite.” Clare asks the audience to vote. “In your time … you swipe right if you like the boy, and you swipe left if you donʼt like the boy,” she says.The comedy gives way to the turning point of her life. Clare describes Francis as a merchantʼs son “born into wealth just like me.” She says: “I realized that I had everything, but I wanted none of it.” She slips out of her family home on Palm Sunday night, has her hair cut before Francis, and faces her furious father: “I belong to Christ now, Father.”It is not a one-woman show. Other actors play Clareʼs companions and the early friars, and Clare pulls women from the audience into the story, choosing them as “sisters” and giving them vows as her community grows. Clare’s hair is cut as she gives up her life of privilege, with Fra Rowland Yeo, OFM, as St. Francis, at a performance in Singapore on Oct. 16, 2026. | Credit: Benedict Tang ‘The right to possess nothing’Poverty runs through the script. Clare recalls that her mother, Ortolana, “saw God everywhere, especially in the poor,” and adds: “They were not hidden like today.”“This is what it means to live in the privilege of poverty,” she says, “to be given the right to possess nothing.” The world, she tells them, “did not understand. Not even the Church.”The title of the play echoes Clareʼs letters to St. Agnes of Prague, a princess who, in the playʼs words, “decided to give up everything to become a poor lady.” In welcoming remarks before the curtain, Fra Michael DʼCruz, OFM, the Franciscan friar overseeing the event for the parish, quoted those letters and described how the two saints, Clare and Francis, worked together. “Francis was the voice; Clare was the quiet powerhouse of prayer,” he said.Near the end, Clare looks back on a life of refusals. “Perhaps saying no was never the whole point,” she says. “I had to learn how to say yes, yes to Christ, yes to poverty.”After the cast took their bow on opening night, Harrison dropped Clareʼs Italian accent to thank those present “for wanting to be here to listen to Clareʼs story,” promising “a bigger, grander farewell” for the last night.St. Clare died in 1253 at San Damiano, near Assisi, Italy, her home “for the next 40 years,” as she says in the script.

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A Catholic parish in western Singapore hosted the play “TO GAZE: St. Clare of Assisi” as part of celebrations for the Jubilee Year of St. Francis of Assisi.

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Filmmakers bet on human craft over AI for animated St. Francis musical #Catholic A 3D animated musical trilogy on St. Francis of Assisi is taking shape in Singapore, with its creators choosing a human-led animation process over AI at a moment when the industry is racing toward it.Director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu call the project “The Francis Chronicles.” It marks a reunion for Tanaka and Hsu, who first worked together two years ago on “One Church, One People,” the official theme song for Pope Francis’ visit to Singapore in September 2024 — his last Asia-Pacific apostolic visit before his death seven months later. Patrick, a secondary school friend of Tanaka, joined the project in January 2026.“It does feel like God’s providence — the way our paths crossed and intertwined over the last couple of years. We were each called individually first. Ben and Gabriel were both working on an animated short series about Catholic saints, while I was mulling over a faith-based musical project. When we met up late last year at a separate event, we realized the commonalities in our ideas — that was when the seeds for this project were first planted,” recalled Hsu, who is directing the music for the trilogy. A rendered 3D scene from “The Francis Chronicles” depicts St. Francis praying before the San Damiano crucifix. | Credit: Courtesy of Cantiva Studios St. Francis, a 13th-century Italian friar from the town of Assisi, has become an enduring symbol of simplicity, peace, and care for creation — echoed in Pope Francis’ second encyclical, Laudato Si’, “On Care for Our Common Home.”Eight months later, the trio set up Cantiva Studios, a Singapore film production company focused on animated features of cultural and spiritual significance for international audiences, with “The Francis Chronicles” as its flagship project.With Pope Leo XIV declaring this year the Jubilee Year of St. Francis of Assisi, the trio felt the time was right to begin the project. “His life has greatly impacted our faiths individually, and what better way to honor him than to use the gifts we have been given in storytelling and music to do just that,” Tanaka said from Cantiva Studios’ newly established production office, when asked why they decided to go ahead with a musical instead of a straight drama. They chose animation over live action, he added, because they hope to reach families with young children.Choosing craft over convenienceThe decision to animate the film by hand, using traditionally trained artists, was not an easy one. AI models can now produce polished visuals in minutes and promise significant savings in time and cost. Patrick, however — a designer by training — argued that nothing matches what human hands bring to a film: “Nothing still beats human-crafted movies in offering the viewer and the artists behind the making of the film the greatest range and freedom of authentic expression.”After extensive consultation with the Franciscan friars in Singapore, who assisted with research into the saint’s life, the trio chose a human-led production process, with artists and animators shaping the film from concept to final frame. Friar Derrick Yap, left, and Friar John-Paul Tan of the Custody of St. Anthony speak at the Festival of Praise event at the Church of St. Mary of the Angels in Singapore. | Credit: Courtesy of Cantiva Studios Tanaka, who is making his feature directorial debut with “The Francis Chronicles,” added that Pope Leo XIV’s first encyclical, Magnifica Humanitas, released in May, helped crystallize the team’s decision. “Pope Leo XIV’s timely reminder of ensuring the dignity of human labor really struck a chord with us when we finally made the call on whether to use AI,” he said. “We are proud to be making this animated musical in the most human way possible.” For the filmmakers, this decision is not a rejection of technology but one that keeps human judgment and artistry at the center of the creative process.A medieval saint for the modern worldFriar John-Paul Tan of the Custody of St. Anthony sees the timing as significant. “The last decade or so has been a telling sign about the effects of St. Francis and what his life meant then and to our generation today,” he said, speaking from the Church of St. Mary of the Angels in Singapore. He pointed to a remarkable convergence of milestones: the first pope in history to take the name Francis and a series of 800th-anniversary milestones running from the Rule of St. Francis in 2023 through his canonization in 2028. “I think all these milestones culminate to something significant that God is trying to tell us at this moment in history.”Friar Derrick Yap, custos of the Custody of St. Anthony, said he hopes the films will carry that message beyond the Church: “May the eyes of the world be opened to the beauty of creation and come to see it as St. Francis did: Brother Sun, Sister Moon, Brother Fire, and Sister Mother Earth.” An animator works on a 3D scene for “The Francis Chronicles” at Cantiva Studios’ production office in Singapore. | Credit: Courtesy of Cantiva Studios From Singapore to the worldFor a small domestic film industry, the ambition is unusual. Singapore-made films represent only a fraction of titles screened locally and face a challenging commercial landscape. A homegrown Catholic animated feature would itself be a rarity. “The Francis Chronicles” aims to go further, telling the story as an international trilogy designed for theatrical and streaming audiences beyond Singapore.To help finance development of the first film, “Francis and the Voice of Creation” — covering his early years and call from God — the trio launched a worldwide Kickstarter campaign on Sept. 8. The funds raised will go toward research, script writing, character designs, and storyboards before animation begins. A 3D-animated St. Francis of Assisi prays inside San Damiano Church in a scene from “The Francis Chronicles.” | Credit: Courtesy of Cantiva Studios The second and third films are planned to carry the story through the founding and growth of the Franciscan movement and St. Francis’ final years, when he became the first documented saint in history to receive the stigmata.Aaron Leong is a film and video producer who has been hired by Cantiva Studios for commercial video work on “The Francis Chronicles.”
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Filmmakers bet on human craft over AI for animated St. Francis musical #Catholic A 3D animated musical trilogy on St. Francis of Assisi is taking shape in Singapore, with its creators choosing a human-led animation process over AI at a moment when the industry is racing toward it.Director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu call the project “The Francis Chronicles.” It marks a reunion for Tanaka and Hsu, who first worked together two years ago on “One Church, One People,” the official theme song for Pope Francis’ visit to Singapore in September 2024 — his last Asia-Pacific apostolic visit before his death seven months later. Patrick, a secondary school friend of Tanaka, joined the project in January 2026.“It does feel like God’s providence — the way our paths crossed and intertwined over the last couple of years. We were each called individually first. Ben and Gabriel were both working on an animated short series about Catholic saints, while I was mulling over a faith-based musical project. When we met up late last year at a separate event, we realized the commonalities in our ideas — that was when the seeds for this project were first planted,” recalled Hsu, who is directing the music for the trilogy. A rendered 3D scene from “The Francis Chronicles” depicts St. Francis praying before the San Damiano crucifix. | Credit: Courtesy of Cantiva Studios St. Francis, a 13th-century Italian friar from the town of Assisi, has become an enduring symbol of simplicity, peace, and care for creation — echoed in Pope Francis’ second encyclical, Laudato Si’, “On Care for Our Common Home.”Eight months later, the trio set up Cantiva Studios, a Singapore film production company focused on animated features of cultural and spiritual significance for international audiences, with “The Francis Chronicles” as its flagship project.With Pope Leo XIV declaring this year the Jubilee Year of St. Francis of Assisi, the trio felt the time was right to begin the project. “His life has greatly impacted our faiths individually, and what better way to honor him than to use the gifts we have been given in storytelling and music to do just that,” Tanaka said from Cantiva Studios’ newly established production office, when asked why they decided to go ahead with a musical instead of a straight drama. They chose animation over live action, he added, because they hope to reach families with young children.Choosing craft over convenienceThe decision to animate the film by hand, using traditionally trained artists, was not an easy one. AI models can now produce polished visuals in minutes and promise significant savings in time and cost. Patrick, however — a designer by training — argued that nothing matches what human hands bring to a film: “Nothing still beats human-crafted movies in offering the viewer and the artists behind the making of the film the greatest range and freedom of authentic expression.”After extensive consultation with the Franciscan friars in Singapore, who assisted with research into the saint’s life, the trio chose a human-led production process, with artists and animators shaping the film from concept to final frame. Friar Derrick Yap, left, and Friar John-Paul Tan of the Custody of St. Anthony speak at the Festival of Praise event at the Church of St. Mary of the Angels in Singapore. | Credit: Courtesy of Cantiva Studios Tanaka, who is making his feature directorial debut with “The Francis Chronicles,” added that Pope Leo XIV’s first encyclical, Magnifica Humanitas, released in May, helped crystallize the team’s decision. “Pope Leo XIV’s timely reminder of ensuring the dignity of human labor really struck a chord with us when we finally made the call on whether to use AI,” he said. “We are proud to be making this animated musical in the most human way possible.” For the filmmakers, this decision is not a rejection of technology but one that keeps human judgment and artistry at the center of the creative process.A medieval saint for the modern worldFriar John-Paul Tan of the Custody of St. Anthony sees the timing as significant. “The last decade or so has been a telling sign about the effects of St. Francis and what his life meant then and to our generation today,” he said, speaking from the Church of St. Mary of the Angels in Singapore. He pointed to a remarkable convergence of milestones: the first pope in history to take the name Francis and a series of 800th-anniversary milestones running from the Rule of St. Francis in 2023 through his canonization in 2028. “I think all these milestones culminate to something significant that God is trying to tell us at this moment in history.”Friar Derrick Yap, custos of the Custody of St. Anthony, said he hopes the films will carry that message beyond the Church: “May the eyes of the world be opened to the beauty of creation and come to see it as St. Francis did: Brother Sun, Sister Moon, Brother Fire, and Sister Mother Earth.” An animator works on a 3D scene for “The Francis Chronicles” at Cantiva Studios’ production office in Singapore. | Credit: Courtesy of Cantiva Studios From Singapore to the worldFor a small domestic film industry, the ambition is unusual. Singapore-made films represent only a fraction of titles screened locally and face a challenging commercial landscape. A homegrown Catholic animated feature would itself be a rarity. “The Francis Chronicles” aims to go further, telling the story as an international trilogy designed for theatrical and streaming audiences beyond Singapore.To help finance development of the first film, “Francis and the Voice of Creation” — covering his early years and call from God — the trio launched a worldwide Kickstarter campaign on Sept. 8. The funds raised will go toward research, script writing, character designs, and storyboards before animation begins. A 3D-animated St. Francis of Assisi prays inside San Damiano Church in a scene from “The Francis Chronicles.” | Credit: Courtesy of Cantiva Studios The second and third films are planned to carry the story through the founding and growth of the Franciscan movement and St. Francis’ final years, when he became the first documented saint in history to receive the stigmata.Aaron Leong is a film and video producer who has been hired by Cantiva Studios for commercial video work on “The Francis Chronicles.”

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Director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu call the project “The Francis Chronicles.”

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