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Dreaming the Body Beautiful at the Royal Durian Academy of Ballet

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Performance pics courtesy of Wong Horng Yih

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Goddess-trainer Nell Ng

As a hardcore and unrepentant goddess-lover, I am bound to be biased about any project involving Nell Ng. In any case I’ve never subscribed to the belief that objectivity serves better than subjectivity, especially when it comes to expressing an opinion or viewpoint. After all, how we experience an event is largely determined by the general state of mind we happen to be in – even what we had for breakfast.

Well, on the 5th of October, 2016, my digestion could only handle a breakfast of cream crackers soaked in condensed “milk” – no thanks to the “fresh” pineapple juice I had consumed a couple of days earlier at the local Mamak. My late lunch of refried spaghetti didn’t help either. I had to use the loo at least twice before leaving home, to expel the ominous rumblings in my gut. I was sorely tempted to message Nell and apologize for canceling out on The Royal Durian Academy of Ballet’s stepping-out performance. But it was on for only one night, and I really did want to be present at this momentous event, so I braved the perils of a fragile belly to witness the birth of “adult ballet” in Malaysia.

durian5Why momentous? Well, for one thing it was to showcase the results of a whole year of sweat and tears (perhaps even a few drops of blood) endured by Nell Ng’s guinea-pig class of adult ballet students – which began with an enrolment of 20 and ended up with only 11 who managed to stay the grueling course. Among them were some of the most scintillating divas and goddesses in local showbiz… like Carmen Soo, Nikki Palikat, Ida Mariana, Janet Lee, Elvira Raul, Bihzhu… and here I’ll include Alia Kearney (because she’s getting there in quite a hurry).

A few of them probably attended ballet classes as youngsters, but they had all gone on to become actresses, models, singers, mothers, entrepreneurs, accountants, lawyers, housewives. As Principal of the Royal Durian Academy, Nell Ng was formally trained in classical ballet early in her life but has since carved a prominent niche for herself as actress, director, choreographer, scriptwriter, radio host, emcee, producer, and co-founder and artistic director of Pan Productions.

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Why Royal Durian? Well, Nell is passionate about this thorny, pungent “king of fruits” – and I suppose the durian aptly symbolizes what this project is about. The outer skin is tough and prickly, like beginner’s ballet classes; but once the breakthrough is achieved, the rewards are orgasmically sweet. In between performance pieces, each dancer was given the stage to share a bit of personal experience – and everyone testified that surviving a whole year of beginner’s ballet under Nell Ng in dominatrix mode had totally changed their lives – for the better.

For a start, getting to Monday morning classes on time week after week had made them all far more disciplined. Nell Ng, reportedly, has an extremely low tolerance for any student who says, “Sorry, I’m late!” This inspired a frenetic and fast-moving number titled “I’m Late” (set to a staccato con prestissimo jazz piano piece by Eliane Elias) which yielded some extremely funny moments.

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As to be expected, there was a generous dose of kinetic humor added to the choreography. Nell Ng has the uncanny knack of infusing even the most serious moments with inspired wit – and this quality was most evident in Aaron Teoh’s engaging performance, wherein he utilized his diminutive form to hilarious comedic effect. Aaron brought the house down with his description of some of Nell’s extreme training methods. The students would be made to lie flat on their backs with their legs raised perpendicular to their torsos while Nell would go around leaning hard against their feet, reminding everyone to point their toes: “Point point point,” she would yell, “till you can feel my tits!” That marked the moment Aaron Teoh understood the real meaning of “adult” ballet!

Interior designer and budding actor Adrien Ritzal joined the Royal Durian Academy only a few months ago as a “junior member.” His natural charm and aptitude for dance swiftly won the crowd over as he confessed to a growing fondness for prancing around in sexy tights.

Cassie Frankenstein Wong (that’s her facebook name) quit the corporate matrix to pursue her passions and has blossomed into a superb artist, experimenting with painting and pottery, photography, and now, ballet. She helped with costume design on this production and also managed to sell 10 miniature watercolors of ballerinas to members of the audience supportive of her bold leap into authentic creativity and resourcefulness. Her poise as a dancer was clear evidence that the spirit, once freed of drudgery and mechanical routine, is capable of achieving just about anything.

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The hall lights came on as ushers dressed as durians on legs, assisted by members of the troupe, went up and down the aisles, collecting cash donations to help Bella Rahim continue her performing arts studies in France. Her colleagues in theater are determined to fill the enormous vacuum in funding for deserving artists painfully evident in corruption-rife and politically-retarded Malaysia.

Bella Rahim and seasoned torch singer Elvira Arul (also known as Elfie Raul) offered poignant testimony of their personal struggles with body image and self-esteem growing up XL in a culture that idealizes sizes S and M. Joining the Royal Durian Academy of Ballet was an act of courage and defiance that helped them reclaim their pride in being themselves, fashion magazine norms be damned. Glad to say, both performed every bit as beautifully and gracefully as the rest.

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Ida Mariana

Reclaiming self-confidence, self-esteem, and realizing the body beautiful are integral to Nell’s adult ballet curriculum. Actress and singer Ida Mariana confessed that, despite her powerful passion for dance, she opted to concentrate on singing instead because she believed, for most of her life, that she didn’t have the “perfect” dancer’s body. Attending the Royal Durian Academy had effectively dispelled her anxieties, allowing her to wholeheartedly embrace the beauty and truth of her cosmic-dancer soul. Towards the end of the show, certificates were presented to each dancer, including the results of a mock exam they had taken days earlier. Ida Mariana was one of two who earned full marks; the other being Cassie Wong.

Another inspiring case study in fearlessly pursuing one’s passion was Janet Lee, fast becoming a well-known diva in town and now working on her second album of jazz-flavored songs. When I first met Janet many years ago, she was working in computer sales. I recall that every time I rode in her car she would put on an opera cassette and uninhibitedly burst into song. I told her she had it in her to go pro and, true enough, she actually did, after many years of dedicated effort and perseverance. It was uplifting to see Janet apply the same determination and focus to her desire to conquer the domain of dance. Her energy and vivacity are indeed infectious. Perhaps a positive spin-off of having worked and played for years alongside a natural-born goddess-trainer like Nell Ng.

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Indeed, there was no member of the Royal Durian Academy troupe who wasn’t radiant with confidence, exuberance, joy, and laughter. Nell’s ability to instill discipline and bring out the best in her performers echoes the work of classical Indian dance master Ramli Ibrahim (who has nurtured several generations of outstanding dancers). As a consummate director with an eye for detail and a nose for perfection, Nell Ng strikes me as Malaysia’s answer to mad genius Tim Burton, in her penchant for creative quirkiness and a preference for working with a trusted and reliable ensemble of performers.

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Nikki Palikat

The celestially talented Nikki Palikat and Ida Mariana – along with Peter Ong and Alizakri Alias, Nell’s partners in Pan Productions – are among her regular stars whenever she stages one of her typically ambitious but always artistically and commercially successful musicals. I have witnessed over the years how everyone in Goddess Nell’s orbit seems to shine brighter and more joyfully, as they claim their place in the firmament of showbiz luminaries. I suspect Nell Ng is really an alchemist who has mastered the art of transmuting lead to gold, lumps of charcoal into sparkling diamonds.

At the maiden performance of the Royal Durian Academy of Ballet, the entire theater seemed aglitter with stars – on stage as well as in the audience. Even the durian-impersonating ushers and a handsome half-naked young hunk who came on stage to help with the lucky draws looked like celebrities – and as it turned out, the handsome lad was none other than Joseph Lee (actor, model, martial artist, athlete, and 21st century version of the legendary Bruce).

I don’t listen to radio or watch TV, so I didn’t recognize the dazzlingly elegant emcee, who turned out to be Ashley Chan, a popular young personality on the airwaves (whose career as a dancer was cut short by a meniscus injury sustained during intense rehearsals). She was totally impressive, stunning in fact, just like the rest of the show. Which is why I unhesitatingly rose to my feet and applauded as the performers took a bow – and I was elated to see the full house follow suit.

7 October 2016

[First published in Eksentrika, 7 October 2016]

 

 

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TRIBAL TOTEMS & TABOOS – AND HOW TO BREAK FREE OF THEM!

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Antares catches Kee Thuan Chye’s epic Swordfish + Concubine

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Writer/producer/director  Kee Thuan Chye

As long as I’ve known journalist turned actor-playwright-author-director Kee Thuan Chye – and our friendship dates back more than three decades (including almost a decade when he “unfriended” me for bashing his 1992 staging of that infamous Scottish play) – he has struck me as a clear-headed, straight-talking sharpshooter who enjoys taking aim at all that’s mediocre, unjust and tyrannical. Whether through the written, spoken or dramatized word, Kee rarely beats about the bush. This makes his voice as a public intellectual good medicine for the national soul, even if subtlety is often sacrificed for accessibility.

This was once again evident in his latest theatrical production, Swordfish + Concubine, which marks Kee’s dramatic comeback after a long hiatus. Swordfish is an energetic, eclectic and electric take on an instructive tale recorded in Sejarah Melayu (The Malay Annals), wherein a precocious and perspicacious lad is deemed a potential threat to the mediocre powers-that-be and summarily executed. When I first came upon this fascinating folktale a long time ago, I saw it as a perfect metaphor for the intellectual and moral stagnation characteristic of feudal despotisms wherein tribal totems and taboos conveniently serve to dumb down the populace and keep them docile, servile, and blindly loyal to debauched and decadent overlords.

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Kee in his producer’s notes states that he has been shaping and reshaping this punchy parable for a good twenty years. Its first theatrical expression was in 2008 when Ivan Heng of  Wild Rice  staged it at the OCBC Singapore Theater Festival; three years later a revised version directed by Jonathan Lim was staged at Singapore’s Drama Center Black Box; and less than a year ago Swordfish was staged in Mandarin by Loh Kok Man at Pentas 2, KLPAC. So much effort has been channeled into molding this work because it’s a play that lends itself Lego-like to a variety of dramaturgic interpretations.

A bit of Brecht, a dash of Shakespeare, a whiff of Ionesco, throw in some Bangsawan and Wayang Kulit elements, insert some hip-hop  – and the result is an engaging mix of pungent satire, socio-political commentary, polemical theater and tragicomedy with a distinctly Malaysian flavor (even if the setting happens to be Singapura, an island off the Malayan peninsula once known as Temasek).

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With a dynamic, cohesive, ensemble cast of 12, a strong blend of experience and youth, and no prima donna roles, the action is a liquid, continuous flow – with dead bodies resurrecting themselves to reappear moments later in a different scene and costume changes occurring as if by magic. It wasn’t easy to keep track of the parade of personalities, as each performer played two or more characters. They had to act, sing, dance, fight and move props around as each scene merged into the next. But it was undoubtedly an enthusiastic, disciplined, focused and poignant ensemble performance – veering from commedia dell’arte style hijinks provided by Ris Kaw and Logod (the clownish “Greek” chorus, adroitly played by Iefiz Alaudin and Bella Rahim) to dark, dire and distressing theater noir (the public impalement of the Sultan’s concubine Nurhalisa, gut-wrenchingly portrayed by Hana Nadira).

As Hang Nadim, the young genius who suggested building a palisade of banana stems against the swarms of killer swordfish, Joel Timothy Low won the audience over from the outset, so that his cruel and unjust murder elicited vicarious outrage. Veteran actors Sandra Sodhy, Na’a Murad and Lam Ghooi Ket lent professional gravitas to each character they played, while the younger ones (Alfred Loh, Arief Hamizan, Amanda Ang, Qahar Adilah and Gregory Sze) gave vigor and vitality to the proceedings. As Sultan Iskandar Syah, Gregory Sze was marvelously narcissistic, vulnerable and schizoid, sentencing the woman he loved to death by impalement just so he wouldn’t be seen as a weak ruler. Alfred Loh’s portrayal of the inquisitorial trial judge was blood-curdlingly convincing; and Amanda Ang’s Tun Dara, Sultan Iskandar’s love-deprived official consort, was sensitive and poignant.

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Rhythm In Bronze (Jillian Ooi in the middle) Pic courtesy of Bella Rahim

A crucial dramatic element was the mesmerizing live “soundtrack” provided by the celebrated contemporary gamelan ensemble Rhythm In Bronze, under the masterful musical direction of Jillian Ooi and Teuku Umar Ilany (featuring guest percussionist Thong Yoong How). Indeed, almost everyone will agree that just listening to Rhythm In Bronze in action alone was worth the price of admission, they are that captivating. Choreographer Faillul Adam, costume designer Dominique Devorsine, and lighting/set designer Loh Kok Man deserve mention and a hearty round of applause for their excellent work on Swordfish + Concubine.

The political dimensions of Kee’s play are, of course, worthy of an academic treatise and everyone in the audience was electrified by the cogency and relevancy of his numerous allusions to the rotten state of affairs (at least in old Singapura, where the action takes place). All-too-familiar to us were the complacent, self-serving, sycophantic palace officials and ministers and their cunning machinations just to maintain their privileged positions and the corrupt status quo. The deification of royalty and the sanctification of “The Covenant” – a mythical Social Contract handed down from generations long gone – serve as tools of mass mind control, leading to cultural stagnation, abuse of the law, political paralysis, allowing criminals in public office unchallengeable impunity.

Setting up a “sovereign fund” and milking it for all its worth to support lavish lifestyles… the usual shenanigans that go unreported and unremarked in the muzzled media… arresting citizens for gathering without a permit in public places, charging them with sedition in the spurious name of stability and security… a secret police network payrolled by authoritarian paranoia… the very ingredients of a failed state once known as Temasek, now fallen into the hands of invaders.

But Swordfish + Concubine closes on an upbeat, optimistic note (“It’s time to rock, yo! And move to your own beat”) as the citizens begin to awake and embrace the possibility of – nay, the necessity for – radical, liberating change, a complete break from stultifying, toxic tradition.

4 November 2017

[First published in Eksentrika 4 November 2017. Production images courtesy of Pam Lim]

 

 

 

 

 

 

Metaphors Be With You!

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Matt Crosby as Cyber & Zahim Albakri as Putra in a scene from Know No Cure

The moment you start focusing your attention on them, metaphors wriggle right out of the woodwork, spring from the ground beneath your feet like mushrooms. Back in Y2K – that pivotal year in which the Earth’s Axis was realigned by the crowning of Neocon Emperor George “Caligula” Bush – I almost gave up on romance, succumbed to forwarding bulk emails, and stopped calling myself “a man of letters.” At that low point in my life I was visited by the Alphabet. More precisely, like a scene out of Sesame Street, the letters A and Z showed up at my door cleverly disguised as Adam Broinowski and Zahim Albakri.

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Adam Broinowski

They were on a mission to gather facts and impressions about the Orang Asli amongst whom I live. We spoke to some villagers, trekked to a spectacular waterfall, and discussed environmental issues. Zahim explained that Adam was doing research for a play he was incubating, and that he was in Malaysia for three months on a cross-cultural project sponsored by Asialink. Adam was sufficiently charming for me to put him on my permanent email list; and he would occasionally zap me a few lines from Japan where he had joined an avant-garde theater company called Gekidan Kaitaisha (Theater of Deconstruction).

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Zahim Albakri

On April 28th, 2007, I bumped into A and Z again, this time at the home of Marion D’Cruz where a lovely feast was in progress, celebrating the memory of theater icon Krishen Jit. They had an affable actor named Matt Crosby in tow, and I was told that Adam’s play, Know No Cure, was opening mid-May, starring Zahim and Matt. This was to be the world premiere of a play written in 2001 and which has since been further developed and refined, with Adam and Zahim co-directing. In the seven years since we first met, Adam Broinowski has grown a Mephistophelean Van Dyke and acquired an enigmatic aura: he appears more confident, more focused, more masterful, and there’s a wizardly twinkle in his eyes that tells me he’s onto something mysterious and powerful.

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Adam Bronoiwski in Vivisection Vision: Animal Reflections (a performance piece)

I google Adam Broinowski and am amazed by all the things he’s done: produced a documentary on Japanese subcultures called Hell Bento (aired on SBS in 1995); written a bunch of plays (The Great Gameshow of Pernicious Influences and Hotel Obsino in 1996 and 1999); studied Noh and a bit of butoh in Japan at Shizuoka University as a Japan Foundation fellow (which means he speaks fluent Japanese); performed in seven countries as acrobat, clown, dancer, multimedia artist; acted in a TV series while working on his PhD at the University of Melbourne; and, at 36, he’s several months younger than both my second daughter and my second wife. It’s hard not to feel a twinge of vicarious paternal pride talking to this multi-talented young man who has dedicated himself totally to all the artistic pursuits I’d wish upon my own son.

“Tell me a little about Know No Cure,” I say to Adam. “What elements do you think will entice Malaysians to watch the show?”

“Well, Matt plays a very sick Mat Salleh named Cyber and Zahim plays a Malay surgeon named Putra who’s forgotten his own roots. The action is set in the near future in a fictitious and utterly sterile place called Jaya.”

“Sounds like an exquisitely inspired extended metaphor,” I smile, “exactly the sort of theme I’d pick if asked to write a play.” Adam’s eyes are intense and earnest. He embodies the idealism of all Sagittarians, and his love affair with Japan has given his mind a distinctly Zen edge. He assures me the visual elements will be exciting and provocative. Most importantly, the chemistry between Matt and Zahim is working out fine.

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Matt Crosby

Matt Crosby’s professional accomplishments are no less reassuring than Adam’s. Equally versatile, he’s done radio, TV, film; acted, directed, scripted, designed, and managed; studied and toured in Japan with Shinjuku Ryozanpaku (a leading contemporary theater company). Matt graduated from the National Institute of Dramatic Arts in 1981 and was artistic director of the Actor’s Furniture Group from 1996 to 2000. He has explored a variety of performance techniques – Suzuki, Grotowski, Kristen Linklater, and neuro-kinetic expression (whatever that is).

In his role as Cyber, he represents Faustian man’s industrial-corporate-scientific mindset, the metaphoric terminus of western civilization. Cyber is hospitalized while visiting Jaya and is to be operated on by Dr Putra – played by Zahim Albakri, one of Malaysia’s most highly acclaimed actors and a Cammy award-winning director many times over.

Cyber’s diseased condition is reflected in the unhealthy state of the natural environment. Will Putra cure Cyber – or will he himself end up contaminated? The audience is advised that Al Gore will NOT be making a cameo appearance in this production. This is beyond politics, this is hybrid theater from the thinking heart, and it focuses on extinction – of ancient wisdom as well as of species (and that includes Homo supposedly sapiens) – an urgent issue we ignore at our own peril.

The world premiere (16 May 2007) of Adam Broinowski’s Know No Cure marks fifty years of nationhood and cross-cultural ties between two former British colonies. You wouldn’t want to miss out on this exciting artistic collaboration.

9 May 2007

FOUR LEGS GOOD: WILD RICE CELEBRATES AN ORWELLIAN CENTENNIAL

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Ivan Heng’s 2003 restaging of George Orwell’s classic is wonderfully thought-provoking

IT’S BEEN AGES since I last read Animal Farm, undoubtedly one of George Orwell’s best-known works. So it was a pleasure indeed to be reacquainted with this timeless allegory – “A Fairy Story,” Orwell called it – through Wild Rice’s production of Ian Wooldridge’s faithful stage adaptation, for an appreciative Singapore audience in September 2003.

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Singaporean theater prodigy Ivan Heng

Directed by the immensely gifted Ivan Heng, Animal Farm impressed with the caliber of the performers, the quirkiness of the set, the artful make-up, and Philip Tan’s animated live music (a performance in itself). Heng opted for an unexpectedly sober and only slightly zany dramatization of the plot.  

Relying largely on stylized movements and a very disciplined cast, Heng’s directorial vision was reminiscent of the “3D effect” of computer-generated animation (e.g., the Dreamworks production of A Bug’s Life in which the characterizations blur all boundaries between cartoon and realism). With well-defined physical mannerisms, the actors effectively created vivid animal personas that somehow made them human without anthropomorphizing them.

AF3Lim Yu-Beng and Selena Tan were convincingly horsey as Boxer and Mollie, steadfast but a bit slow on the uptake. Ivan Heng, Gene Sha Rudyn, and Pam Oei were pricelessly piggish as Napoleon, Snowball and Squealer. As the ruthlessly ousted deputy, Sha Rudyn’s Anwarish goatee harked back to Leon Trotsky – and he was equally brilliant as Benjamin the literate but phlegmatic donkey, and cockily comical as the resident rooster. Michael Ian Corbidge’s Farmer Jones was a John Bullish political cartoon down to his Union Jack underpants, and he also doubled as Pilkington – a cross between Uncle Sam and a redneck evangelist entrepreneur. The casting of ruddy-faced angmoh Corbidge as Jones was an oblique allusion to our colonial past – a political subtext that wasn’t lost on the audience. When Napoleon harangues the animals and asks querulously if they want Farmer Jones to return and reclaim Manor Farm, it sounds like the sort of dire warning against the dangers of globalization you might hear at any Umno General Assembly.

Ivan Heng’s Napoleon was a masterful study of a charismatic leader’s steady metamorphosis into demiurgic despotism. The political scapegoating of his erstwhile deputy into Public Enemy No. 1, leading to inquisitorial witch-hunts and party purges to divert attention from gross mismanagement, were chillingly, goosebumpily real – as Heng pigged out completely on his juicy rôle without ever succumbing to the temptation to “ham” it up.

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As agitprop chief Squealer, Pam Oei’s high-pitched stridency evoked eerie memories of China’s cultural revolution when party cadres in Mao suits brandished copies of the little Red book at all potential dissidents and heretics. But hysterical Squealers are found in every ministry of “information.”

animal-farm-wild-riceAudience participation consisted of our being invited to recite the post-colonial doctrine of “Four legs good, two legs baaaaaaaaaaaad!” in appropriately sheeplike tones. Indeed, since the only farm animals not represented on stage were the sheep, it fell to the audience to take on that rôle like good law-abiding, tax-paying citizens. For our valiant efforts we were paid off in sponsored pre-election apples.

But with changing realities – and lucrative joint ventures signed between the porcine farm management and Pilkington the American corporate representative – leaflets had to be dropped from the rafters in four languages (English, Tamil, Malay and Chinese) proclaiming the new-era ideology of four-legs-good-two-legs-better. Another “Farm Development Project” to serve the needs of progressive animals, brought to us by Napoleon, the fine upstanding porker in a well-cut dark suit and red tie – standard uniform of the nefarious Illuminati World Management Team sported by NWO executives and their political proxies on all important occasions.

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What Ivan Heng has achieved through this hip and savvy re-staging of Animal Farm with a distinctly ASEAN flavor is a revitalization of Orwell’s classic study of the neo-feudal mechanics of political power, giving it a fresh, contemporary sheen, rich in local color.

AF4The somber theme of bad times getting worse is dynamically offset by very physical performances, and the insertion of a garish, carnivalesque grand finale – abetted throughout by the vigorous live music – mostly percussive – provided by an enormously exuberant and talented Philip Tan: he performs offstage for the most part, though visibly, but occasionally leaps onstage and contributes to the surrealistic mayhem. Air-conditioning ducts feature prominently as multi-purpose stage props, representing the pseudo-mystical fascination of newfangled technology – as well as the animal butcher’s van in which Boxer is carted off for slaughter when he outlives his usefulness to the System.

In short, Wild Rice’s Animal Farm was a totally credible – and more than creditable – tribute to George Orwell’s acute insight into the ploys and pitfalls of political power, and his dystopian view of the human condition. The production has been invited to tour New Zealand in early 2004 – and, hopefully, Malaysian audiences will get to see it soon after that.  [Note: Ivan Heng’s Animal Farm was successfully staged in New Zealand, Tasmania, Hong Kong, and restaged in Singapore – but it still hasn’t happened in Malaysia, although in August 2017 a Malay version titled Kandang, directed by Omar Ali, is to be staged at KLPAC]. 

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Ivan Heng’s first staging of Animal Farm in 2002 earned him the DBS-Life Theatre Award for Best Director. In his director’s notes for the souped-up 2003 version, Heng states: “This production was a gut reaction to the ‘War against Terror’ in Iraq. I remember sitting in front of the television on March 20th, feeling sick to the core as I watched the first bombs on Iraq fall. If there is one thing I’m learning, it is how Governments can become so separate from the very people who vote them into power. Watching the news made me think about how the media has the power to distort and manipulate the truth. It made me think about my responsibility as an artist. If only to understand my personal response to the events of the world, I was searching for a way of expressing my confusion and disappointment.”

“In the world of Animal Farm, most speechifying and public palaver is bullshit and instigated lying, and though many characters are good-hearted and mean well, they can be frightened into closing their eyes to what’s really going on.” – Margaret Atwood

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George Orwell @ Eric Blair

BORN ERIC ARTHUR BLAIR on June 25, 1903 in Bengal, George Orwell’s centennial in 2003 stirred up some controversy about the validity of his status as a literary icon, with leftwing critics bristling over the fact that Animal Farm had been co-opted as an antisocialist tract by rightwing interests.

His detractors have remarked on Orwell-Blair’s long history of hobnobbing with the secret police – as a police officer in Burma, BBC propagandist for India and Southeast Asia, and British Intelligence consultant on anti-communist strategies during the early days of the Cold War. Whose side was he on? Was he in truth the maverick Winston Smith or master manipulator O’Brien (two key characters in 1984) – or was he perhaps both?

Some of the sharpest minds are recruited for psyops (psychological warfare) and Eric Blair just happened to have an acute literary flair – and a profound loathing for the cynical mass-control mechanisms installed by the ruling elite to perpetuate its feudalistic stranglehold on the human imagination. Upon leaving Burma he embraced anarchism with a vengeance, and then swung to the extreme left, fighting fascism in the Spanish Civil War. Then he got disenchanted by the communist movement and chose the life of a penniless vagabond for several years – an experience that spawned his first book, Down and Out in Paris and London (1933), and later The Road to Wigan Pier (1937).

tony-blairThe soul’s yearning for freedom is doomed to futility in Orwell’s universe, and one gets the sense that he finally gives up fighting the Status Quo because he can see no way out: it’s a task he finds morally repugnant, but he will serve the Dark Lords of the Matrix by inserting himself into 10 Downing Street as a future prime minister – not as an Orwell, of course, but as a Blair – in any case, as someone supremely fluent in Doublethink and Newspeak.

Therein lies the poignant irony of Orwell’s dark, visionary novels – especially 1984 (written in 1948) which is a perfect prescription for a Big Brother power elite ruling through sloganeering, disinformation and public relations – and when all that fails, ruthless police brutality. Precisely the sort of world we find ourselves living in today, where war is peace and might is right, and history an infinitely rewritable cut-and-paste business.

Winston Smith, the chief protagonist of 1984, is turned around by the mind control experts in Room 101 where, confronted by his deepest, darkest fears, his rebellious individualism is broken – and the novel concludes bleakly with the socially rehabilitated citizen Smith drinking Victory gin at the local and watching Big Brother on the boob tube along with all the other faceless plebes – while the chorus of a popular ditty echoes in his brain: “Under the spreading chestnut tree/I sold you and you sold me.”

But Orwell’s intellectual integrity and his extraordinary skill as a writer more than redeem his own internal conflicts – and his readers are left with the onus to seek, and ultimately find, a non-polarized resolution beyond the dire straits of divide-and-rule dualism.

25 November 2003

Burrrp… Simply Sedap!

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Antares pigs out over Jit Murad’s SPILT GRAVY ON RICE

Good home cooking imparts a marvelous sense of well-being. Who was it who defined patriotism as a fond memory of all the wonderful things we tasted in our childhood?Well, that makes Jit Murad a true patriot and an even truer playwright. Simply because he has a knack of serving up some timely home truths without ever sounding pedantic or preachy, and his brilliant agility with words makes a long story seem short and sweet. Through the rich and spicy stew of human melodrama generated by just one genetic hodgepodge of a family, Jit brings the story of modern Malaysia up to date with sagely wit and deep compassion.

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Dato’ Rahim Razali as Bapak

His unapologetically polygamous Bapak – impressively portrayed by the highly durable Dato’ Rahim Razali – redeems the image of the patriarch as progenitor, our father on earth. Which is no easy feat considering the boorish, bullying shadow side of the Bapak figure that dominates our political history. In the gentlest possible voice, the playwright derides a wawasan without otak – a national vision with little intelligence or soul.  His allusion to the abysmal events of May 13, 1969 – which have for decades marred the national psyche and perpetrated the unhappy ethos of aggressive denial (and the compulsive dishonesty it breeds) – was handled with incredible grace and tenderness. At a time when the nation is confronted with the imminent departure of an overbearing and all-powerful Bapak, the play resonates on more levels than can be grasped with one viewing. And yet, Jit’s astute observations transcend the pettiness of politics and attain the sublime heights of a humane social philosophy that heals old wounds and reconciles apparent contradictions.

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Sean Ghazi as Husni

Bapak’s five children (actually six, all from different mothers) represent a cross-section of the educated class: Zakaria is a rake (“You mean he’s the black sheep of the family?” “No, more like the black goat!”) whose rebellion against his father’s value system makes him a cynical opportunist (which he blames on his piratic ancestry); Kalsom is a controversial (read attention-craving) dramaturge and poet totally engrossed with her own artistic ambitions; Darwis, a frustrated academic turned literary critic and family biographer; Husni, a successful architect and closet gay; and Zaiton, a typical aspiring Toh Puan ensnared in the comfortable complacency of the haute bourgeoisie.  Bapak has a few more tricks up his sleeve, but it’s not for me to reveal them here.

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Bernice Chauly as Kalsom

While the casting was astute, the performances were slightly uneven. Reza Zainal Abidin and Sean Ghazi were absolutely spot on as Darwis and Husni. Elaine Pedley was an utter delight as the winsome Willow Gomez (“an over-enthusiastic interpretative dancer”) who also stood in as the memory of all the women in Bapak’s life. Benjy and Eijat were excellent as Azri and Michelle (Husni’s gay lover and Zakaria’s transvestite friend), and Ahmad Ramzani Ramli wholly credible as Kalsom’s faithful assistant (and worshiper).

Soefira Jaafar’s affected interpretation of Zaiton was not altogether convincing, but we may attribute that to her relative inexperience as an actor. Bernie Chan, making her acting debut, was elegantly entertaining as Hortense Chia, Zaiton’s confidante and childhood friend. Bernice Chauly looked really smashing as Kalsom and so did Charon Mokhzani as Zakaria – but their long absence from the boards made them a wee bit self-conscious in the early scenes, although both evidently possess thespian skills aplenty. One hopes their return to the limelight will stir up the adrenaline sufficiently for them to get hooked all over again.

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Raja Maliq, set designer

It’s an exciting venture indeed to be part of the creation of an original play and the entire cast and crew deserve a mighty round of applause for the wonderful energy they invested in bringing Jit Murad’s fourth (and most mature) full-length play to life. Mac Chan’s lighting was precise and efficient; and Raja Maliq’s set design, which resembled a giant closet, rather ingenious, though the thin plywood construction seemed somewhat wobbly. The well crafted sound by Wong Pek Fui was, on the night I caught the performance, miscued a couple of times by an inexperienced operator – but that was perhaps the only amateurish touch in an otherwise commendable first staging of a complex dramatic work. The material is so engagingly textured that it can be interpreted in endless ways, and it’s almost certain that Spilt Gravy On Rice will see many more incarnations in years to come and in places yet undreamed of.

Director Zahim Albakri has molded, with loving attention and intuitive aplomb, Jit Murad’s delectable text into a nourishing, soul-satisfying theatrical experience.  Rise, Sir Jit and Sir Zahim, and receive your well-earned accolades and hugs.

Oh, by the way, look out for a couple of unnamed characters (Men In White) whose surprise cameo appearance alone is worth risking an evening out in the permanent haze of KL.

2003

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“MUM… DAD… I WANNA JOIN THE MACC!”

MACC-stub

This ticket stub carries some pleasurable memories for me. That’s why I have immortalized it here. I first stumbled on the intriguing poster below on Patrick Teoh’s Niamah blog…

MACC-poster

What phenomenal inspiration, I thought, to present three stand-up comedians – all Chinese, of course – as the Malaysian Association of Chinese Comedians. I was determined to catch the show, even visited TicketCharge to try and book online… but was put off by the fact that TicketCharge charges an additional RM12 as a “service fee.” That’s way too much, I thought. I mean, if I were booking a RM375 ticket to see Beyonce, I wouldn’t blink an eye at a RM12 service fee. Nobody minds paying up to RM5 extra for the convenience of booking a theater ticket online – but RM12? That’s 33% of the ticket price! What if I were buying TWO tickets? RM24 could easily buy a very fine dinner for two…

Jaya-OneFast-forward to 24 October 2007. I get to Jaya One around 8:20PM and, after asking a couple of people, manage to locate PJ Live Arts. As I stand in line at the ticket office, I notice a poster for MACC 1st EGM that has “Sold Out” scrawled over it in black marker. True enough, it was a full house – not even one seat left! But a girl named Lulu was really helpful. She told me to hang around till just before 9PM – in case somebody canceled out. Just then I bumped into Patrick Teoh and his lovely wife Min Chan with heartthrob actor/director/playwright Gavin Yap in tow. They were downing some beers and awaiting the arrival of more friends. We had a quick chat and then I headed back to the ticket office where more friends were assembled – including a few prominent bloggers I had never met in person. They were waiting around for cancellations too. But as it turned out there was only ONE cancellation… and since I was alone I got it! I wasn’t going to miss MACC 1st EGM after all 🙂

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Douglas Lim (pic courtesy of Grant Corban)

The President, Vice-President, Treasurer, Secretary and Supreme Advisor of the Malaysian Association of Chinese Comedians is a mutant Malaysian Chinese multi-tasker named Douglas Lim. I first heard of him when my daughter was assistant director on a successful sitcom called Kopitiam. She told me supporting actor Douglas Lim was incredibly talented but I must admit I was more keen to be introduced to Joanna Bessey, the star of the series. Back then at only 18, Douglas Lim looked rather nerdy – but it was undeniable that he was a natural-born actor, singer and comedian with tremendous promise.

Well, that promise has been totally fulfilled. Douglas Lim at 32 is a world-class act. I never would have believed a Chinaman could do stand-up comedy the way Douglas does it. Back in the mid-1980s my friend Thor Kah Hoong gave it a shot and he did pretty okay – but I still preferred Chris Rush, Richard Pryor, Eddie Murphy, even Robin Williams. Thor was simply too cerebral, too cynical, too dry (and too skinny) and for my taste.

douglas-limAlong came the irresistible Jit Murad and the inimitable Harith Iskandar, followed by the untoppable Alan Pereira and Indi Nadarajah (of Comedy Court fame). Amazing talents – but not Chinese mah, that’s why so funny. Before long, Patrick Teoh and Nell Ng joined the luminous cast of The Instant Cafe Theatre and both proved to be extreme hoots on stage and always entertaining – but while Patrick and Nell are fantastic comedians, they don’t actually do stand-up stuff. Riveting pub entertainer Rafique Rashid acquired a loyal following as a singing stand-up comedian whose specialty was “Weird Al” Yankovic-style spoof songs – but his only claim to Chineseness was his predilection for Chinese girls with nice legs. And then, of course, there’s the supercool Afdlin Shauki – but also not Chinese, so not counted.

Well, I tell you, this fella Douglas Lim can hold his own on the same stage with all the great names in stand-up comedy – including, possibly, the late great George Carlin. You know why? Because if you can do stand-up comedy with a typical Chinaman accent and not make everybody cringe… you’ve got to be absolutely fantastic!

Stand-up comedy is perhaps the most challenging form of performance. Apart from your voice, your brain, and your own body – all you’ve got is a microphone. No fake mustache, no funny hat. The ones who make it in this incredibly challenging medium must also be equipped with brains that can process data at a million times average speed. In short, unless you qualify as a Grade A mutant genius, don’t even bother auditioning as a stand-up comedian. I wish I could upload a few more clips of Douglas doing his thang. But they don’t exist on YouTube yet [Now they do! ~ Ed.] The kind of rapid-fire multi-layered humor he trades in can’t really be transcribed as text because one has to see his face and watch his moves. Suffice to say, Douglas Lim found a new fan in me that night.

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Kuah Jenhan

The MACC 1st EGM poster featured two other board members of the Malaysian Association of Chinese Comedians: Phoon Chi Ho (listed as an “intern”) and Kuah Jenhan (“sacked – pending appeal”). Phoon had to cancel out at the last minute because he was down with chicken pox. That put the onus on 22-year-old Jenhan (left) to work doubly hard since it was now a two-man rather than a three-man show. I’m happy to report that Jenhan’s performance was truly outstanding, no doubt because he picked the best sifu (guru) in the business – Douglas Lim, whose masterful tutelage Jenhan acknowledged more than once during his routine.

What impressed me most was the sheer sophistication of the material presented at MACC 1st EGM. Douglas and Jenhan effortlessly negotiated the squiggly boundary between heavyweight cutting-edge political satire and lighthearted pop trivia and kept the audience rolling in the aisles without a moment’s letup. The audience, about 75% Chinese I’d venture, left the theater feeling it’s actually quite okay to be born yellow instead of black or white. That’s really no mean feat – to make being Chinese look funky, funny, sexy and lovable all at once. Douglas and Jenham fully earned the standing ovation they received that memorable Saturday night.

Watch Douglas Lim in action, expressing the frustration some of us must feel because we happen to be born yellow instead of black…

 

5 November 2009

We’re off to off the Wizard, the wonderful Wizard of Oz!

offthewizardWho among us has not been amused and delighted by the extraordinary spectacle of Munchkins bursting into song and dance in celebration of the Wicked Witch’s demise?

Have we not wondered, at different moments in our life, if we were more like the brainless Scarecrow, the heartless Tin Man, or the Cowardly Lion?

And, just like Dorothy, have we never come to the conclusion, after a surfeit of incredible adventures, that there’s no place like Home?

When MGM released in 1939 the Hollywood version of what had already achieved cult status as a stage musical, L. Frank Baum’s immortal classic The Wizard of Oz swiftly won the hearts of a worldwide audience.

I don’t remember how old I was the first time I caught the movie in my hometown but it certainly left many vivid images imprinted in my impressionable young mind. So when The Wizard of Oz was restaged between April and May 2012 at KLPAC by Pan Productions – a young and vigorous outfit helmed by the highly talented Nell Ng, Peter Ong and Alizakri Alias – I looked forward greatly to catching it.

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Radhi Khalid as the Tin Man, Stephanie Van Driesen as Dorothy Gale, Peter Ong as The Scarecrow, and special guest star Wolfgang as Toto

I wasn’t disappointed. It was as wonderful a production of a time-tested favorite as any you’re likely to see in any major city. Director-choreographer Nell Ng opted to stick close to the general tone and flavor of the Hollywood version and found herself the perfect Dorothy Gale in Stephanie Van Driesen (who even bears a passing resemblance to the young Judy Garland and, more importantly, is a well-rounded talent in terms of acting, dancing and singing).

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Tria Aziz, a magnificently malevolent Wicked Witch of the West

Another outstanding casting choice was Tria Aziz as Almira Gultch and the Wicked Witch of the West whose iridescent green makeup and powerful singing voice made her a candidate for the best supporting actress award. But, then, many other key players were equally impressive – particularly Peter Ong (Hunk/Scarecrow), Radhi Khalid (Hickory/Tin Man), and Zalila Lee (Zeke/Cowardly Lion). Special mention must be made of Wolfgang the terrific terrier who took on the challenge of playing Toto.

The multimedia effects by a digital projection outfit called Dam Interactive were, in a word, wizardly. They played a significant role in the success of the production, convincingly conjuring a wide range of atmospheres – from a violent tornado to enchanted forests, spooky castles, and an Emerald Palace fit for a Wonderful Wizard. Musical director Eric Carter Hah deserves a standing ovation for bringing the fairly complex score to life with such effortless ease I initially thought I was hearing a pre-recorded soundtrack. Then I realized there was an 11-piece orchestra hidden backstage.

Seeing The Wizard of Oz as a stage musical for the first time in my life was most definitely a treat. Even more so since many of the talented and charming cast happen to be dear old friends. As a treat for all the senses, Nell Ng’s Wizard left little to be desired – and, as I told her afterwards, my only complaint was that the air-conditioning in KLPAC was so cold I found myself sitting on my hands between rounds of hearty applause.

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Suhaili Micheline as the good Witch of the North

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L. Frank Baum in 1911

I decided to do a bit of research on the man who created the Land of Oz – that colorful character named Lyman Frank Baum (15 May 1856 ~ 6 May 1919) and found him to be way too complex to summarize. In his youth he got hold of a simple printing press and became an editor-journalist-publisher. Then he got into poultry breeding and traded in fireworks. At the same time he was infatuated with the theater and squandered a large portion of his wealth investing in unsuccessful plays. He took on a great many roles, using stage names like Louis F. Baum and George Brooks.

In 1880 Baum’s father built him a theater in Richburg, New York, and he wasted no time writing, producing, directing and acting in plays – even composing songs and conducting workshops in stagecraft . Just as he was beginning to reap some acclaim, a fire destroyed his theater, along with his costume collection and the only copies of his playscripts.

wizard_titleFailure and ill fortune continued to dog L. Frank Baum until his 44th birthday – when his collaboration with illustrator W.W. Denslow yielded a best-selling children’s book, The Wonderful Wizard of Oz. Thereafter Baum began churning out a stream of children’s books based on his Oz characters.

Five years later he announced a grand plan to buy an island off the California coast where he would build a gigantic theme park named “The Marvelous Land of Oz – a fairy paradise for children.” Eleven-year-old Dorothy Talbot of San Francisco was to be crowned Queen of Oz and the park was to be administered by a committee of child advisors. Baum himself intended to relocate to the island where he would presumably assume the role of a real-life wizard.

Alas, the theme park project was abandoned after another theatrical venture, The Woggle-Bug, failed at the box office. Baum even founded a film company in 1914 called The Oz Film Manufacturing Company but lost a lot of money on the venture. One gets the distinct feeling that L. Frank Baum was born just a wee bit too early. It took another visionary entrepreneur, a fellow named Walter Elias Disney – born shortly after The Wonderful Wizard of Oz became a runaway best-seller – to realize all of L. Frank Baum’s fantastic dreams.

Among the interesting details I unearthed about L. Frank Baum, the fact that he had the tendency to look askance at religion caught my attention. Although raised as a Methodist, Baum expressed a great deal of skepticism about orthodox dogmas. At one point he joined the Episcopal Church – but mainly for the purpose of participating in community theatricals.

In 1897 – influenced by Matilda Joslyn Gage, Baum’s feminist mother-in-law – Baum and his wife became Theosophists. The Theosophical Society had been established in 1875 by Henry Steel Olcott (a military investigator, journalist and lawyer) and the famous Russian mystic, Helena Petrovna Blavatsky. Theosophists hold that “there is no religion higher than truth.”

In the light of this, can any traces of L. Frank Baum’s metaphysical inclinations be found in The Wizard of Oz? Considering that the Wizard presides like a deity – inspiring awe, reverence and not a little fear – over the inhabitants of Oz, isn’t it delightful that it takes a fearless and innocent little girl named Dorothy to gain entry to the Emerald Palace and penetrate the Wizard’s high-tech public relations apparatus, so that the Great Wizard of Oz is ultimately exposed as an eccentric “extraterrestrial” trickster, a master illusionist, a professional thaumaturge – albeit a disarmingly benign one?

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It doesn’t require too much of a stretch of the imagination to draw a few parallels with The Matrix movies – wherein the Archons or Fates appear as a funky assortment of complex metaprograms running the holographic pseudo-reality from which Thomas Anderson aka Neo the hacker escapes (after he swallows the Red Pill offered by Morpheous) and fulfills his destiny as “The One.”

Indeed, I would venture the opinion that The Wizard of Oz qualifies as a forerunner of The Matrix. It’s easy enough to replace the Wicked Witch of the West with Agent Smith. Now I’m seriously looking forward to the musical version of The Matrix.

6 November 2012

wizard_oz_poster

Does this qualify as political commentary?

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