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.
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).
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.
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.
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