Antares experiences dejá vù at the preview of Jit Murad’s new play
The last time I saw Liza Othman on stage was in 1988 when I played her husband in an original play by Maureen Ten. Jit Murad played our son. Then she got married (in real life) and vanished from public view until December 5th, 2001 – when Jit’s play VISITS was previewed under the Five Arts Centre/Actors Studio Directors’ Workshop Project with Ida Nerina making her directorial debut.
Liza Othman’s long sabbatical from the local stage was, I felt, a tremendous loss to theater. She is perhaps one of the most sensitive and versatile actresses I have had the pleasure of working with – apart, perhaps, from Fatimah Abu Bakar, who also gave up acting to devote herself to raising a family. But in the interim we witnessed the arrival of many scintillating pros like Sukania Venugopal, Jo Kukathas, Joanna Bessey, Paula Malai Ali, Foo May Lyn, Sandra Sodhy, Shanthini Venugopal, Mary George, Nell Ng, Merissa Teh, Jerrica Lai, et al. Still, it was for me a poignant experience to watch Liza Othman in action again – even if she appeared just a wee bit jittery during the opening scene, which she carries more or less solo (the other actress, Melissa Saila, being all the while completely hidden under the bedclothes).
It didn’t take Liza long to win the audience over.
I became an ardent fan of Sofia Jane the moment I saw her on screen in some best forgotten Melayu movie (no, it wasn’t Uwei Hajisaari’s controversial Perempuan, Isteri, dan… which had some unforgettable moments). Indeed, in Sofia Jane I thought we had the makings of a Malaysian Sophia Loren… and then she, too, got married and vanished from public view for several years. VISITS marks Sofia’s long-hoped-for return to theatre, now as Sofia Jane Azman and a mother of two. She’s as rivetingly beautiful as ever – and still one of the finest actresses this country has ever produced. It was truly a treat to watch two of my favorite actresses on stage together in an effervescent play written by someone I’ve always loved and respected.
Melissa Saila was making her debut in English-language theater, though she has starred in numerous Malay TV dramas and recently appeared in a much acclaimed Malay adaptation of The Importance of Being Earnest. Hers was a face new to me but she carried herself like a pro – and held her own against two absolutely charismatic and far more experienced actresses. There were a few moments when she lapsed into the excessive histrionics that’s long been a trademark of all Malay TV soaps – but then again the character she was playing probably grew up on a sudsy diet of melodrama. She, too, I’m happy to report, is gifted with star appeal – that special attribute Malays call berseri.
Working with such a winning cast and with such a charmingly written text, Ida Nerina – herself a talented and vivacious actress – would have had to try very hard to come up with a lousy play. Since this is her debut as a director, one applauds heartily if the whole thing actually hangs together; one doesn’t delve into minute technicalities; one simply celebrates Ida’s triumph and the arrival of exciting new directorial talent. Besides, director, cast, and playwright now have seven weeks to fine-tune and tailor the occasionally fluffy material into better defined shape.
What of the play itself? Well, it’s very much a Jit Murad original. Natural-born storyteller Jit is a whiz at concocting Woody Allenish studies (“It’s my homage to Tennessee Williams,” the playwright insists) of a particular class and generation of Malays (in this instance three interesting specimens of Malay womanhood), gently poking fun at their foibles even as he redeems them with sheer lovability. Years of association with the Instant Café Theatre has made him expert at aiming pointed asides at the pompous, the hypocritical, and the politically unassailable while distracting us with rambling, yet thoroughly entertaining, monologues.
Gold Rain and Hailstones, which marked Jit’s debut as a playwright in the mid-90s, still ranks as a milestone event in local theater. His next effort, The Storyteller, was overly long-winded but had its glorious moments and deserves to be revived in slightly edited form. It remains to be seen, when Visits opens for the public on January 30, 2002, if this one is going to mature into a major hit. Even as a work-in-progress it already has the makings of a minor masterpiece – thanks to the magic stirred into it by four beautiful and powerful women.