Review of breaking and lagi lah

For the past week, RA has been talking about a few plays. 2 of which had its last show on Sunday afternoon. I caught Break-ing on Thursday with theatre analyst Niki. On Sunday, to Lagi Lah with Jennie, Nawar and Linda.

Yes. All these people have only names and you’ll find no pictures of them, or me, here. Only an idiot would make himself look bad in his own column.

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Three plays by three directors

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I’ve to admit I didn’t quite get Silence, Please, by Jo Kukathas. The storyline that is. I got the gist of it. Certain parts what the story evolved around, showed the maturity (I suppose that’s the word) of the writer. The sub-messages as well was brilliant. As a matter of taste, it was a little slow for me and it did make me feel lost watching this as I had to keep on trying to piece it together in my head.

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Directed by Loh Kok Man, Repot?[Mind+Mine] was a play that had 95% of the script in Mandarin (or was it Cantonese). With subtitles of course. I didn’t expect to enjoy it as much as I did. There was defintely an almost equillibrium between the element of humour and message/theme. One of the things it seeked to determine and pose to the audience was, what is the national language, first language and mother tongue of a person. A conundrum namely with non-Malays who live in Malaysia.

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The last one, WIP did good but prolonged pauses turned me off a little. On top of the idea of promoting the freedom of thought, it also made close reference to the ISA which I’ve been researching about of late. This one was directed by Nam Ron and I was waiting for that X element from him in this one because of his previous work. Just as when I was beginning to feel disappointed, that element came in towards the end of the play. And it came well.

*Part 2 of the ISA series that I’m writing for RA will be out this coming Monday.

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I’ve always insisted on not saying things like, ‘for Malaysian standards, this was good.’ But that is indeed the case sometimes. That description is apt no matter how politically correct you wish to appear. Worse still if you grew up hearing and watching West End musicals and then you start watching local productions that is at most, considered to be post infant or perhaps pre adolescence.

What this one did was that, it would take a song from a famous musical or movie, alter the lyrics and theme to suit the Malaysian context. It did not help that my ears could not catch on as fast as Jennie’s in spotting the origins of half of the parodies they were doing.

But to break it down simply, at least 60% of the songs performed was brilliant. Definitely.

Some were off simply I believe because of two things. Some songs needed more,

• movement and/or people on stage. This was especially so with the somewhat barren stage they had. To compensate with more props and decor would be an alternative, but an expensive one indeed as the context (although all Malaysian), was a revolving one.
• singing by more people. Not just the one or three that they had on stage. But perhaps the whole cast if need be, for the sake of ‘delivering’ the song. Some just needed that grand effect with stronger melody.

That said, the parody of Tomorrow (from Annie The Musical) regarding how a Dato’ Hu must wait till ‘tomorrow’ for his cheque, perfomed solo by Mia Palencia was simply super.

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Orwell’s farm at klpac

“They are idiots before the revolution; they are still idiots after the revolution” -Adapted from a novel by George Orwell and script written by Ian Wooldridge -

In Mandarin with English subtitles,

Animal Farm

Pentas 2, The KLPAC, Map
RM 37, RM 27 (Students, Disable & Senior Citizens)
9-18 October @ 8:30pm
12 October @ 3:00pm + 8:30pm
19 October @ 3:00pm only
No show on 13 October
(KLPac) 4047 9000 / (TAS@BSC) 2094 9400
012-266 1579 / 012- 277 8871 / info@pentasproject.com
Its page on Facebook + Pentas Project Website

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A political metaphoric performance presented by the most promisisng force of theatre in 2008.

George Orwell’s scathing destruction of the dictatorial governance of Communism, “Animal Farm” was written in 1945. Yet, what is its relevance today? In 2008, Pentas Project will boldly question the complications of power and greed, capita;ising upon the boiling discontentment of the people and the strange political and social phenomena which is real life for many.

This is a shattering story of totalitarianism, desire, grees and corruption – forcing you to face the actual collective consciousness of the worst of human weaknesses.

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They are idoits before the revolution; they are still idiots after the revolution.

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- Adapted from a novel by George Orwell and script written by Ian Wooldridge.

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Director : Loh Kok Man
Chinese Script : Tan Yan Tee
Cast : Gan Hui Yee + Ling Tang + Chen Huen Phuei + Chin Lee Ling + Lim Tiong Wooi + Moo Siew Keh

Production Manager : Au Sow Yee
Set Design : Caecer Chong
Music & Sound Design : Bernad Goh + Terrence Chong
Costume Design : Dominique Devorsine
Lighting Design : Loh Kok Man

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The sonnets of willy shake

KLPac wraps up its Curious Residency Showcase with LOVE & BEAUTY : The Sonnets of William Shakespeare 18 – 20 Sept @ 8.30pm / 20 – 21 Sept @ 3pm

I spoke to Chris today about his latest project and within hours I received (what I assume) the press release from (what I assume) their publicist. Thanks Chris, Yue May for the info, and everyone else involved with The T4YP Ensemble and the Curious Residency Showcase.

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KLPac wraps up its Curious Residency Showcase with

LOVE & BEAUTY : The Sonnets of William Shakespeare

18 – 20 Sept @ 8.30pm / 20 – 21 Sept @ 3pm
Additional show due to overwhelming response – 21 Sept @ 8.30pm
Pentas 2, KLPac + Map RM25 / RM10 (students only)
KLPac 03-4047 9000 or The Actors Studio 03-2094 9400

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• its Facebook page
• The Star’s To love or not to love?
• KLue’s Arts Preview

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The Curious Residency Trailer

Directed by CHRIS LING
Production Design by SANDEE CHEW
Lighting Design by TEO KUANG HAN
Multimedia Design by GOH CHOON EAN, OLIVIA OON & SAW POH SIM
Original Music by NICK CHOO
Also Featuring Poetry by ALEX BROUN & HELENA FOO

Starring THE T4YP ENSEMBLE
Alfred Loh, Farah Rani, Gadiy Lim, Gowry Paary, Iedil Putra Alaudin, Ivan Chan, Johann Oh, Kimberly Mehta, Marvin Wong & Oliver Peters

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KLPac’s Curious Residency Showcase kicked off with Helena Foo’s After Our’s and continued with Mark Beau de Silva’s 8 Ways to Lighten the School Bag. Since the entire showcase is a product of talented young thespians, it only seems fitting to finish off with a production by KLPac’s Theatre for Young People (T4YP) Ensemble, led by its Director Chris Ling.

One man considers the merits of love and beauty in the course of one night. Sometimes whimsical and funny, at other times poignant and sad, Love & Beauty presents the timeless sonnets of William Shakespeare in a heady mix of musings, poetry, music and multimedia.

Experience Shakespeare as you have never experienced it before – in all manners and forms (even in a song!), both conventional and unconventional… This multi-sensory blitz is set to wrap up the showcase with a big bang!

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Finally, one without

I caught the 8 Ways To Lighten The Schoolbag on their opening night. It’s the first play I caught in a long time that had no element of sexual orientation issues. A cliche element I feel most local playwright often molest for lack of a better idea. Niki argued that the sexual orientation element in plays are

I caught the play 8 Ways To Lighten The Schoolbag on their opening night. Went to watch it with Niki, a former theatre active, who because did not see alot of his kawan, claims that a number of the crowd were made of followers of the cult started by me as he spotted a few subtle finger pointing.

Because there’s still two more showings, I will reserve my thoughts on it. Best to not have my opinions cloud you with a preconceive notion, mainly because I know bollocks about theatre.

It’s the first play I caught in a long time that had no element of sexual orientation issues. A cliche element I feel most local playwright often molest for lack of a better creative faculty.

However (some weeks ago) Niki argued that the sexual orientation element in plays are mainly because playwrights are merely writing what’s around them, what they’re familiar with.

I admit there’s some truth there. But I’m meant to rant more on this issue in another post. Need sleep now. Leaving for Singapore in about 12 hours.

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*Pic: with Juria Toramae who co-wrote the play. The rose did not come from me. Must be from some kind soul as I saw everyone involved with the play had one.

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Curious residency

My friend Juria, co-wrote the upcoming 8 Ways To Lighten The Schoolbag with Cameronian Arts Award-nominee Mark Beau De Silva, who is also directing this production. In support for it, I am writing this post in point form. Although 8 random points, they flow and connect one after the other. It would’ve been nice to not mention, but just in case. For value sake, to lighten your load. :)

*Its invitation page on Facebook

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1. When a silly boy understands the lesson he’s learned, he is a man. Until then, in bliss, that man burns.

If you live in the past, you live in the past. So I finished by reading a few very old emails, and walked a few very new steps.

A man that once in his life, had avoided a woman’s phone call, is one without foresight.

With now allocating some money aside, I confess I’ve started reading a little on investments.

Someone overheard, someone (I think somewhat highly of) telling someone else, that I’m “a brilliant chap, but he thinks he can do everything and he’s doing it.” I note the ‘but’ to connote the 50% compliment, 50% not, statement. The best compliment though, is to note oneself making concrete changes, to change.

Last week, Wednesday, I had a mild fever. I had refused to inform almost anyone for not wanting sympathy or a series of routine questions, as touching that might be. Perhaps that is why I had it till Saturday night.

I thought it was a-not-so-serious fever. But I did lose significant appetite, and gain a few hyphens.

8. The most important lesson this man had learned is, to not reap what you sew. Instead sew more.

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8 ways to lighten the schoolbag

The Curious Residency presents,

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8 Ways To Lighten The Schoolbag

Thursday 4 September – Sunday 7 September 2008
Kuala Lumpur Performing Arts Centre +603 4047 9000
Tickets @ RM25 & RM 10 (students)

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Three good friends in a sekolah kerajaan (government school) sometimes play or fight. These fights attract the attention of the cikgus (teachers) so one day, after years of squabbling, the parents are called in to settle the problem. The cikgus and parents travel through years of textbooks, games, and tuition to try and unravel the seed of the conflict between their children.

The play is a humourous look at our country, its systems, and our education.

Written through KLPac’s inaugural Community Writing Project – a 3-month workshop attempting to involve the community in theatre making – the participants played, wrote, and are now acting in a play they wrote together.

The play is written by Cameronian Arts Award-nominee, Mark Beau de Silva, along with filmmaker Juria Toramae. Mark also serves as the director for this piece, tackling a script unlike any of his previous works.

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*Its page on Facebook.

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Support RA’s pro bono projects by donning a t-shirt. Click here to know more.