9 August 2009
Click on picture to read. :)
Showing posts with label KLPac. Show all posts
Showing posts with label KLPac. Show all posts
Sunday, August 9, 2009
0
True Blue Heroes
Published in Sunday People, New Sunday Times
9 August 2009
Click on picture to read. :)
9 August 2009
Click on picture to read. :)
Sunday, July 26, 2009
0
Mamak Magic
Published in Sunday People, New Sunday Times
26 July 2009
Mamak magic
MAX KOH
Drums Talk saw four percussionists (drums, tabla, Malay drums, Chinese drums) squaring off playfully against each other- Pic courtesy of www.maxtography.com
CHECK out any mamak joint and you will be sure to find patrons of different races eating and enjoying a cup of teh tarik. Such is the appeal of the quintessential Malaysian establishment.
I admit that I did not know much about Let’s Go Mamak… Again! when invited to one of the evening shows. I didn’t really look up the brochure but boy, was I in for a good time!
Presented by Inner Voices and the Kuala Lumpur Performing Arts Centre, Let’s Go Mamak… Again! combined the elements of the three traditional Malaysian music, fused into frames of western and contemporary music styles such as jazz, pop, traditional and world music.
Featuring music composed by Ken Hor and under the guidance of musical director Julian Chan (who also plays the saxophone), the group brought together 13 prominent local musicians for three nights of fun, music and excitement.
Each song presented was preceded by a video presentation where the band members explained what the musical pieces meant to them. Their candid elucidation made the performance more personal and endearing.
Each member of the ensemble is an accomplished player in his own right. They took turns to showcase their skills and talents on their respective instruments.
The ensemble included New York-based violinist Fung Chern Hwei, much sought-after pianist Tay Cher Siang, bassist Daniel Foong, and renowned percussionist Kamrulbahri Hussin.
A highlight was the Drums Talk piece which saw the four percussionists (drums, tabla, Malay drums, Chinese drums) squaring off playfully against one another in producing different types of rhythmic patterns. It was really amazing to see how the fluid tabla emulated the powerful sounds of the Chinese drums, and KamrulBahri playing on a really small drum the size of a fist.
KamrulBahri was the soul of the show, playing a myriad of interesting percussion instruments and even dancing on stage.
At another time, different musicians would square off against one another, much to our delight.
But when all the instruments got together and created a wall of sound that not only massaged the ears but uplifted the spirit — that sounded truly Malaysian.
Let’s Go Mamak... Again! is the second instalment after its impressionable debut last year, also at KLPac. The ensemble bagged four Boh Cameronian Awards under the Music Category for Best Group Performance, Best Music Direction, Best Composition & Kaki Seni Audience Choice Awards.
Inner Voices was founded with the objective to find a new Malaysian sound. I guess it is no wonder that I would find them at a nearby mamak stall after the performance. Judging from their wonderful performance that night, I hope that they will return for another bout of teh tarik next year.
26 July 2009
Mamak magic
MAX KOH
Drums Talk saw four percussionists (drums, tabla, Malay drums, Chinese drums) squaring off playfully against each other- Pic courtesy of www.maxtography.com
CHECK out any mamak joint and you will be sure to find patrons of different races eating and enjoying a cup of teh tarik. Such is the appeal of the quintessential Malaysian establishment.
I admit that I did not know much about Let’s Go Mamak… Again! when invited to one of the evening shows. I didn’t really look up the brochure but boy, was I in for a good time!
Presented by Inner Voices and the Kuala Lumpur Performing Arts Centre, Let’s Go Mamak… Again! combined the elements of the three traditional Malaysian music, fused into frames of western and contemporary music styles such as jazz, pop, traditional and world music.
Featuring music composed by Ken Hor and under the guidance of musical director Julian Chan (who also plays the saxophone), the group brought together 13 prominent local musicians for three nights of fun, music and excitement.
Each song presented was preceded by a video presentation where the band members explained what the musical pieces meant to them. Their candid elucidation made the performance more personal and endearing.
Each member of the ensemble is an accomplished player in his own right. They took turns to showcase their skills and talents on their respective instruments.
The ensemble included New York-based violinist Fung Chern Hwei, much sought-after pianist Tay Cher Siang, bassist Daniel Foong, and renowned percussionist Kamrulbahri Hussin.
A highlight was the Drums Talk piece which saw the four percussionists (drums, tabla, Malay drums, Chinese drums) squaring off playfully against one another in producing different types of rhythmic patterns. It was really amazing to see how the fluid tabla emulated the powerful sounds of the Chinese drums, and KamrulBahri playing on a really small drum the size of a fist.
KamrulBahri was the soul of the show, playing a myriad of interesting percussion instruments and even dancing on stage.
At another time, different musicians would square off against one another, much to our delight.
But when all the instruments got together and created a wall of sound that not only massaged the ears but uplifted the spirit — that sounded truly Malaysian.
Let’s Go Mamak... Again! is the second instalment after its impressionable debut last year, also at KLPac. The ensemble bagged four Boh Cameronian Awards under the Music Category for Best Group Performance, Best Music Direction, Best Composition & Kaki Seni Audience Choice Awards.
Inner Voices was founded with the objective to find a new Malaysian sound. I guess it is no wonder that I would find them at a nearby mamak stall after the performance. Judging from their wonderful performance that night, I hope that they will return for another bout of teh tarik next year.
Young touch to old tunes
Published in Sunday People, New Sunday Times
26 July 2009
Young touch to old tunes
MAX KOH
Davis and Peters
Can the young hear the music of the older generation? The musical Kaki Blue is the litmus test, writes MAX KOH
THE musical, Kaki Blue, pairs 21-year-old singer-songwriter Nick Davis as the musical director, for the first time, with veteran Mervyn Peters as the chorus master.
Peters has 40 years of experience in the industry, worked in numerous local and West End musicals, and won a BOH Cameronian award in May for his work in Ismail: The Last Days.
Davis, an exuberant self-taught musician, is known for his role in Shanon Shah’s Air Con.
Kaki Blue is about our youths and their National Service experiences. To be staged at the Kuala Lumpur Performing Arts Centre next week, the musical features a predominantly young and new ensemble of talents.
The show is Mark Beau de Silva’s maiden attempt at writing a musical, which he hopes will capture the “spirit of post-millennial youth”. After this, de Silva leaves on a three-month residency at Hooyong Performing Arts Centre in Korea.
“I’m really honoured that Joe Hasham contacted me to do this as it is something different from the things that I’m used to do,” says Davis who also has a small role in Kaki Blue.
“For the first time, I don’t have to do much writing as we are playing covers of songs of the yesteryears.”
The musical will feature songs of yesteryears such as It’s My Party, Girls Just Wanna Have Fun, If I Had A Hammer, Walk Like A Man, Rave On, Monday Monday, and Come Together among others. However, these have been given an indie-rock twist.
“It was really fun researching, as I am not familiar with most of the songs. Take, for example, The Animals’ Gotta Get Out Of This Place. It has a very basic bass groove with a 60s feel to it. I rearranged it by adding some distortion, palm muting and power chords to give a modern-alternative rock feel,” explains Davis.
The arrangement process was fun for Davis as he was able to draw influences from bands of his school years.
“I thought a lot about the punk bands that I listened to in school such as Blink 182 and Sum 41. I feel Kaki Blue is different from the usual orchestra concept, so there will be a different kind of live band that plays really grungy stuff,” adds Davis.
And how does Mervyn find the new arrangements?
“He is very open to ideas. Obviously, I learnt a lot from just watching him because he has years of experience behind him.”
Davis, who actively gigs with his trio, The Snow Symphony, initially found the task of being musical director a little intimidating.
Despite that, Davis took it up because he “likes to do things that are impossible” and learn new things.
“Because I am a self-taught musician, Peters has helped me to understand music further. In fact, he is encouraging me to go learn music after this,” adds Davis.
“Peters is a cool guy to work with. He has a very interesting sense of humour because he tends to keep a straight face when telling you a joke. If you look past the funny comments, you realise that he is in fact trying to tell you something.”
“Davis has a lot to learn,” says Peters, “but I don’t mean it in a condescending way. It’s just that this is something new for him but he is very focused and dedicated.
“He’s really a good guitarist and knows what he wants in his head,” adds Peters, who first appeared on stage in 1975 as part of a choral group.
“What he needs to do is to take it further by studying more about music.”
Peters himself was a self-taught musician in the 1970s and used to conduct church choirs. “I didn’t know how to read music but I had a really good ear for music.”
He then made a conscious decision to study music further and developed from there. “I felt it was one of the best decisions I made because it opened so many doors for me. I wouldn’t be where I am today if not for the decision that I made then.”
Peters brought in some of the West End musicals in the 1980s but went backstage and focused on technical work such as lighting design in the 1990s.
He then returned to the “musical side” when he was roped as choral director for Broken Bridges in 2007.
He has since worked on award-winning musicals with the KLPac such as Tunku The Musical and Ismail: The Last Days. He is currently the personnel manager for the Malaysian Philharmonic Orchestra.
“Davis is easy to work with because he can adjust easily to changes. He is really open to suggestions and a nice fellow overall, not to mention talented,” adds Peters. With the whopping 42-year difference between Davis and Peters, was communication a barrier at all?
“The age difference is not an issue at all because it really depends if the person is easy to work with. The difference between Davis and I is that I have experience while he’s at the beginning of the journey.”
Peters adds that he has still new things to learn.
“You know, I’ve never stopped learning. It is important to remember that no matter how successful a show may be, you have to do a personal postmortem and identify things that you can improve on.
“For Kaki Blue, it was a new experience working in a different style where music sheets are not prepared for the ensemble! It was challenging because there was no notations to determine how long you should hold a note for. Instead, everything is committed to memory only,” adds Peters who feels that notations would have made practice more productive and easier.
“But it was really refreshing to work with the ensemble. This group is particularly lively in the way they work. Sure, at times I found them unfocused and not used to the regimented practices and it took time to get used to singing as a unit.”
Seventy per cent of the cast are newcomers and most of the cast are still in school.
“But I suppose that is what makes them interesting. I know that some of them visited YouTube to listen to the original songs because they complained during practice, ‘But that’s not the way the original song goes!,’” says Peters.
“That’s the whole idea! We are not trying to be produce carbon-copy covers of the original. We are trying to bring a sense of originality to the songs,” he adds with a laugh.
Kaki Blue features 18 songs from the yesteryears with lyrics changed to suit the storyline. It is directed by Joe Hasham and features the choreography of Laskhman Balakhrisnan and set design by Yusman Mokhtar.
• Catch Kaki Blue at KLpac from July 30-Aug 16. Tickets: RM100, RM80, RM60, RM40, and RM30 (students, senior citizens, disabled and ex-NS trainees). Weekday (Tues-Thurs) tickets at RM30. Call 03-40479000 or visit www.klpac.org.
26 July 2009
Young touch to old tunes
MAX KOH
Davis and Peters
Can the young hear the music of the older generation? The musical Kaki Blue is the litmus test, writes MAX KOH
THE musical, Kaki Blue, pairs 21-year-old singer-songwriter Nick Davis as the musical director, for the first time, with veteran Mervyn Peters as the chorus master.
Peters has 40 years of experience in the industry, worked in numerous local and West End musicals, and won a BOH Cameronian award in May for his work in Ismail: The Last Days.
Davis, an exuberant self-taught musician, is known for his role in Shanon Shah’s Air Con.
Kaki Blue is about our youths and their National Service experiences. To be staged at the Kuala Lumpur Performing Arts Centre next week, the musical features a predominantly young and new ensemble of talents.
The show is Mark Beau de Silva’s maiden attempt at writing a musical, which he hopes will capture the “spirit of post-millennial youth”. After this, de Silva leaves on a three-month residency at Hooyong Performing Arts Centre in Korea.
“I’m really honoured that Joe Hasham contacted me to do this as it is something different from the things that I’m used to do,” says Davis who also has a small role in Kaki Blue.
“For the first time, I don’t have to do much writing as we are playing covers of songs of the yesteryears.”
The musical will feature songs of yesteryears such as It’s My Party, Girls Just Wanna Have Fun, If I Had A Hammer, Walk Like A Man, Rave On, Monday Monday, and Come Together among others. However, these have been given an indie-rock twist.
“It was really fun researching, as I am not familiar with most of the songs. Take, for example, The Animals’ Gotta Get Out Of This Place. It has a very basic bass groove with a 60s feel to it. I rearranged it by adding some distortion, palm muting and power chords to give a modern-alternative rock feel,” explains Davis.
The arrangement process was fun for Davis as he was able to draw influences from bands of his school years.
“I thought a lot about the punk bands that I listened to in school such as Blink 182 and Sum 41. I feel Kaki Blue is different from the usual orchestra concept, so there will be a different kind of live band that plays really grungy stuff,” adds Davis.
And how does Mervyn find the new arrangements?
“He is very open to ideas. Obviously, I learnt a lot from just watching him because he has years of experience behind him.”
Davis, who actively gigs with his trio, The Snow Symphony, initially found the task of being musical director a little intimidating.
Despite that, Davis took it up because he “likes to do things that are impossible” and learn new things.
“Because I am a self-taught musician, Peters has helped me to understand music further. In fact, he is encouraging me to go learn music after this,” adds Davis.
“Peters is a cool guy to work with. He has a very interesting sense of humour because he tends to keep a straight face when telling you a joke. If you look past the funny comments, you realise that he is in fact trying to tell you something.”
“Davis has a lot to learn,” says Peters, “but I don’t mean it in a condescending way. It’s just that this is something new for him but he is very focused and dedicated.
“He’s really a good guitarist and knows what he wants in his head,” adds Peters, who first appeared on stage in 1975 as part of a choral group.
“What he needs to do is to take it further by studying more about music.”
Peters himself was a self-taught musician in the 1970s and used to conduct church choirs. “I didn’t know how to read music but I had a really good ear for music.”
He then made a conscious decision to study music further and developed from there. “I felt it was one of the best decisions I made because it opened so many doors for me. I wouldn’t be where I am today if not for the decision that I made then.”
Peters brought in some of the West End musicals in the 1980s but went backstage and focused on technical work such as lighting design in the 1990s.
He then returned to the “musical side” when he was roped as choral director for Broken Bridges in 2007.
He has since worked on award-winning musicals with the KLPac such as Tunku The Musical and Ismail: The Last Days. He is currently the personnel manager for the Malaysian Philharmonic Orchestra.
“Davis is easy to work with because he can adjust easily to changes. He is really open to suggestions and a nice fellow overall, not to mention talented,” adds Peters. With the whopping 42-year difference between Davis and Peters, was communication a barrier at all?
“The age difference is not an issue at all because it really depends if the person is easy to work with. The difference between Davis and I is that I have experience while he’s at the beginning of the journey.”
Peters adds that he has still new things to learn.
“You know, I’ve never stopped learning. It is important to remember that no matter how successful a show may be, you have to do a personal postmortem and identify things that you can improve on.
“For Kaki Blue, it was a new experience working in a different style where music sheets are not prepared for the ensemble! It was challenging because there was no notations to determine how long you should hold a note for. Instead, everything is committed to memory only,” adds Peters who feels that notations would have made practice more productive and easier.
“But it was really refreshing to work with the ensemble. This group is particularly lively in the way they work. Sure, at times I found them unfocused and not used to the regimented practices and it took time to get used to singing as a unit.”
Seventy per cent of the cast are newcomers and most of the cast are still in school.
“But I suppose that is what makes them interesting. I know that some of them visited YouTube to listen to the original songs because they complained during practice, ‘But that’s not the way the original song goes!,’” says Peters.
“That’s the whole idea! We are not trying to be produce carbon-copy covers of the original. We are trying to bring a sense of originality to the songs,” he adds with a laugh.
Kaki Blue features 18 songs from the yesteryears with lyrics changed to suit the storyline. It is directed by Joe Hasham and features the choreography of Laskhman Balakhrisnan and set design by Yusman Mokhtar.
• Catch Kaki Blue at KLpac from July 30-Aug 16. Tickets: RM100, RM80, RM60, RM40, and RM30 (students, senior citizens, disabled and ex-NS trainees). Weekday (Tues-Thurs) tickets at RM30. Call 03-40479000 or visit www.klpac.org.
Monday, July 6, 2009
0
The Two Sides of Shuenda
Published in Sunday People, New Sunday People
5th July 2009
Two sides of Wong Shuenda
MAX KOH
WONG Shuenda. Roll the consonants around. Sounds like a film star from Japan, doesn’t he? He’s an upcoming classical piano player, just back from London, for a performance in Kuala Lumpur.
I first encountered Shuenda when he performed Chopin’s Piano Concerto No.1 in E Minor at the HSBC Classics Piano Competition last year.
I remember the crowd gave him a thunderous ovation after his heartfelt performance.
He beat 32 others to grab the first HSBC Classics Bursary Award. As his prize, Shuenda, now 23, will perform a solo recital at the HSBC Classics Festival Of Rising Stars on July 15.
Shuenda has studied under some of the best local teachers such as Lai Mei Kuen, Ng Chong Lim, and Loo Bang Hean, and has won numerous awards including the Arthur Lepthien International Piano Competition 2005 in Germany, the Malaysian Youth Music Festival 2007 and Royal Overseas League Music Piano Competition 2009 in London.
After the HSBC competition, Shuenda pursued his Master’s Degree in Guildhall School of Drama & Music in London supported by the Kobler Trust, the HSBC Bursary and the Malaysian Youth Orchestra Foundation.
His solo recital for the upcoming festival will include intense pieces from Bach, Chopin as well as flowery ones like Liszt’s Spanish Rhapsody and four preludes by Debussy.
“I chose these pieces for the programme as I felt it would bring out the two sides of my personality — the outgoing side, and the melancholic and introvert part,” says a soft-spoken Shuenda in a recent Skype interview.
“I will begin with Bach’s Prelude And Fugue In F sharp Minor. It’s a tragic and extremely religious piece. Then comes Schubert’s 2 Impromptus from D. 935. It’s filled with such sadness and regret.
“I chose to do Chopin’s Polonaise-Fantasie In A flat Op.61 as it is a difficult, tense piece which was written during a dark moment in his life. I think it’s a beautiful piece.”
After the intermission, Shuenda will showcase his gregarious side by performing the joyous flourishes of Debussy’s preludes, and Liszt’s Spanish Rhapsody which allow him to exercise his “flashy, virtuosic moves”.
“I think it’ll really be an exciting night for the audience,” Shuenda adds.
His love for music began by chance, he says. He was four when he heard his sister playing the piano.
“After one of her lessons, I went up to the piano and started playing with the keys. Her teacher (who soon became his teacher), Lai, recognised my talent and told my father about it. I was promptly enrolled at a music school.
“Growing up, I also learnt to play the violin and cello. I played some jazz and pop too and composed some pop songs when I was younger,” he says with a laugh.
“However, classical music resonates well with me. I’m able to really identify with the composers and what they felt even though they’ve been dead for centuries.
“The piano remains my main instrument as I feel such ease and fluidity when expressing myself with the instrument,” says Shuenda who was recently nominated for Most Outstanding Solo Performance at the 2009 BOH Cameronian Arts Awards.
“Classical music speaks to my soul in such a direct and powerful way.”
Shuenda decided that he wanted to become a professional classical pianist and practiced hard at it. He entered many piano competitions — national and international — and took home many awards.
He then proceeded to do his music degree in Staatliche Musikhochschule Freiburg, Germany where he studied with Elza Kolodin and participated in master classes with V. Margulis, J. Rouvier, and I. Dumitrescu, among others.
He eventually graduated with high distinction in 2006.
Shuenda has given concerts in Singapore, Thailand, the Philippines, Taiwan, Holland and the UK. Some of his notable performances were at the Opening of the British Commonwealth Games, concerts at Bunkamura hall in Japan, Kasteel Terworm in Holland, and the Philippines Centennial Independence in Manila.
“Growing up, I didn’t really click well with my peers. I was hypersensitive and would always over-think the motives behind people’s comments,” says Sheunda. “I found that music was the most honest way I could express myself.”
So what else inspires Shuenda besides music in his career?
“I would love to say that I am inspired by visual arts and literature but I believe I am most inspired by music itself.
“Music is, in fact, the most direct form of art which connects directly with the heart. When you look at visual arts, you need to use the mind in order to compute its meaning and what the artiste is trying to say, but music goes straight to the heart.”
He counts Chopin and Ravel as some of his favourite composers.
“Everything that Chopin writes is beautiful and refined without being too sentimental. There is strength behind his music, where his harmony is amazing and the modulation is simply moving,” says Shuenda.
“Ravel has such a pull on me as there is such an amazing world of sounds and colours in his compositions. Beethoven remains a mountain for me to overcome as he is a different person from who I am. He has a strong and definite way of expressing himself, as opposed to my more fluid and fluent style.”
Shuenda says he loves compositions by young Malaysian authors and modern compositions which push the boundaries.
Shuenda has been busy performing and studying in Guildhall and he loves the opportunities present there.
“Apart from completing my Master’s here, I have no definite plans yet. I am relishing the opportunities to perform in various places, from halls to churches, and attaining wisdom and honing my skills, thanks to the tutelage of Professor Joan Havill.
“But I do plan to return to Malaysia as I hope to share my experiences and skills with the younger ones. I believe it is important to share what you have learnt with others.”
Wong Shuenda will perform his solo piano recital at the HSBC Classics Festival Of The Rising Stars at the Kuala Lumpur Performing Arts Centre on July 15 at 8.30pm. Other highlights in the festival include a chamber concert by the popular Malaysian Piano Trio comprising Loo Bang Hean, Yap Ling and Jonathan Oh. Visit www.klpac.org.
5th July 2009
Two sides of Wong Shuenda
MAX KOH
WONG Shuenda. Roll the consonants around. Sounds like a film star from Japan, doesn’t he? He’s an upcoming classical piano player, just back from London, for a performance in Kuala Lumpur.
I first encountered Shuenda when he performed Chopin’s Piano Concerto No.1 in E Minor at the HSBC Classics Piano Competition last year.
I remember the crowd gave him a thunderous ovation after his heartfelt performance.
He beat 32 others to grab the first HSBC Classics Bursary Award. As his prize, Shuenda, now 23, will perform a solo recital at the HSBC Classics Festival Of Rising Stars on July 15.
Shuenda has studied under some of the best local teachers such as Lai Mei Kuen, Ng Chong Lim, and Loo Bang Hean, and has won numerous awards including the Arthur Lepthien International Piano Competition 2005 in Germany, the Malaysian Youth Music Festival 2007 and Royal Overseas League Music Piano Competition 2009 in London.
After the HSBC competition, Shuenda pursued his Master’s Degree in Guildhall School of Drama & Music in London supported by the Kobler Trust, the HSBC Bursary and the Malaysian Youth Orchestra Foundation.
His solo recital for the upcoming festival will include intense pieces from Bach, Chopin as well as flowery ones like Liszt’s Spanish Rhapsody and four preludes by Debussy.
“I chose these pieces for the programme as I felt it would bring out the two sides of my personality — the outgoing side, and the melancholic and introvert part,” says a soft-spoken Shuenda in a recent Skype interview.
“I will begin with Bach’s Prelude And Fugue In F sharp Minor. It’s a tragic and extremely religious piece. Then comes Schubert’s 2 Impromptus from D. 935. It’s filled with such sadness and regret.
“I chose to do Chopin’s Polonaise-Fantasie In A flat Op.61 as it is a difficult, tense piece which was written during a dark moment in his life. I think it’s a beautiful piece.”
After the intermission, Shuenda will showcase his gregarious side by performing the joyous flourishes of Debussy’s preludes, and Liszt’s Spanish Rhapsody which allow him to exercise his “flashy, virtuosic moves”.
“I think it’ll really be an exciting night for the audience,” Shuenda adds.
His love for music began by chance, he says. He was four when he heard his sister playing the piano.
“After one of her lessons, I went up to the piano and started playing with the keys. Her teacher (who soon became his teacher), Lai, recognised my talent and told my father about it. I was promptly enrolled at a music school.
“Growing up, I also learnt to play the violin and cello. I played some jazz and pop too and composed some pop songs when I was younger,” he says with a laugh.
“However, classical music resonates well with me. I’m able to really identify with the composers and what they felt even though they’ve been dead for centuries.
“The piano remains my main instrument as I feel such ease and fluidity when expressing myself with the instrument,” says Shuenda who was recently nominated for Most Outstanding Solo Performance at the 2009 BOH Cameronian Arts Awards.
“Classical music speaks to my soul in such a direct and powerful way.”
Shuenda decided that he wanted to become a professional classical pianist and practiced hard at it. He entered many piano competitions — national and international — and took home many awards.
He then proceeded to do his music degree in Staatliche Musikhochschule Freiburg, Germany where he studied with Elza Kolodin and participated in master classes with V. Margulis, J. Rouvier, and I. Dumitrescu, among others.
He eventually graduated with high distinction in 2006.
Shuenda has given concerts in Singapore, Thailand, the Philippines, Taiwan, Holland and the UK. Some of his notable performances were at the Opening of the British Commonwealth Games, concerts at Bunkamura hall in Japan, Kasteel Terworm in Holland, and the Philippines Centennial Independence in Manila.
“Growing up, I didn’t really click well with my peers. I was hypersensitive and would always over-think the motives behind people’s comments,” says Sheunda. “I found that music was the most honest way I could express myself.”
So what else inspires Shuenda besides music in his career?
“I would love to say that I am inspired by visual arts and literature but I believe I am most inspired by music itself.
“Music is, in fact, the most direct form of art which connects directly with the heart. When you look at visual arts, you need to use the mind in order to compute its meaning and what the artiste is trying to say, but music goes straight to the heart.”
He counts Chopin and Ravel as some of his favourite composers.
“Everything that Chopin writes is beautiful and refined without being too sentimental. There is strength behind his music, where his harmony is amazing and the modulation is simply moving,” says Shuenda.
“Ravel has such a pull on me as there is such an amazing world of sounds and colours in his compositions. Beethoven remains a mountain for me to overcome as he is a different person from who I am. He has a strong and definite way of expressing himself, as opposed to my more fluid and fluent style.”
Shuenda says he loves compositions by young Malaysian authors and modern compositions which push the boundaries.
Shuenda has been busy performing and studying in Guildhall and he loves the opportunities present there.
“Apart from completing my Master’s here, I have no definite plans yet. I am relishing the opportunities to perform in various places, from halls to churches, and attaining wisdom and honing my skills, thanks to the tutelage of Professor Joan Havill.
“But I do plan to return to Malaysia as I hope to share my experiences and skills with the younger ones. I believe it is important to share what you have learnt with others.”
Wong Shuenda will perform his solo piano recital at the HSBC Classics Festival Of The Rising Stars at the Kuala Lumpur Performing Arts Centre on July 15 at 8.30pm. Other highlights in the festival include a chamber concert by the popular Malaysian Piano Trio comprising Loo Bang Hean, Yap Ling and Jonathan Oh. Visit www.klpac.org.
Sunday, March 8, 2009
0
So Wickedly Funny
First published in Sunday People, New Sunday Times
8 March 2009
So wickedly funny
MAX KOH
Comedian-magicians Barry Jones and Stuart MacLeod combines the irreverent, funny and macabre to create a magic show of their own, writes MAX KOH
IN Wicked Wizards: Barry & Stuart’s Part-time Warlocks, Barry Jones shows us how to balance a spoon on the nose. “This would be an excellent after-dinner magic trick,” he quips while Stuart MacLeod looks on. “We won’t use any glue or gum to make it stick.”
He turns his head from side to side, and amazingly the spoon does not fall off. He then, proceeds to remove the spoon which is attached to his nose with a five-cm nail!
The audience cringes.
“This way you won’t need to use any glue at all!”
The crowd bursts out laughing.
Barry shows his trick with the spoon.
At another point, the duo wears eye-patches and begin to do a little “pirate jig”, much to the audience’s amusement and laughter.
Is this a magic show or Saturday Night Live? Well, it is both!
The British comedian-magicians combine gory tricks, stand-up comedy, drama and a dollop of silliness to create their own brand of magic show.
Humour is a big part of their act and they perform regularly in comedy clubs in UK. Magic tricks are woven into little drama sketches. Their quirky characters engage in witty repartee.
Ouch! Barry’s tongue is skewered
Before you think the humour is mere novelty, the duo astounds you with first-class magic tricks. They were previous winners of numerous Scotland’s Young Magician Of The Year awards.
Barry and Stuart met at a magic circle event 10 years ago, and decided to pair their skills against older counterparts. Their electric chemistry and awesome tricks proved to be a winning combination as they soon toured local clubs and festivals, and even got their own TV show.
They courted controversy for one programme, called The Magic Of Jesus. They re-enacted the miracles of Jesus like turning water into wine.. That got a lot of Press. One bishop remarked: “Maybe these two fraudsters could try being crucified to see if they can rise three days later.”
But the Wicked Wizards’ brand of humour offended some members of the audience. Someone yelled “you suck!” as Barry and Stuart pushed the limits.
They don’t shy away from the taboo as they even demonstrated a voodoo curse on a member of the audience and seemingly conjured a ghost on stage. But it was all in good fun, as their witty exchange lightened the mood.
If you’re squeamish, keep away as there’s a lot of blood (fake), needles, pins and razor blades.
Despite the dark and twisted approach, Barry and Stuart perform a number of silly but impressive tricks that will make you smile.
I felt slightly short-changed though, as I had expected a big trick to end the night but it never came. Still, I enjoyed the show. Their quick fire humour, trickery and awesome audience rapport make a winning formula.
Wicked Wizards, presented by Gardner & Wife Theatre, is on at Pentas 1, KLPac until March 15. Tickets from RM48. Call 03-4047 9000 or visit www.gardnerandwife.com
8 March 2009
So wickedly funny
MAX KOH
Comedian-magicians Barry Jones and Stuart MacLeod combines the irreverent, funny and macabre to create a magic show of their own, writes MAX KOH
IN Wicked Wizards: Barry & Stuart’s Part-time Warlocks, Barry Jones shows us how to balance a spoon on the nose. “This would be an excellent after-dinner magic trick,” he quips while Stuart MacLeod looks on. “We won’t use any glue or gum to make it stick.”
He turns his head from side to side, and amazingly the spoon does not fall off. He then, proceeds to remove the spoon which is attached to his nose with a five-cm nail!
The audience cringes.
“This way you won’t need to use any glue at all!”
The crowd bursts out laughing.
Barry shows his trick with the spoon.
At another point, the duo wears eye-patches and begin to do a little “pirate jig”, much to the audience’s amusement and laughter.
Is this a magic show or Saturday Night Live? Well, it is both!
The British comedian-magicians combine gory tricks, stand-up comedy, drama and a dollop of silliness to create their own brand of magic show.
Humour is a big part of their act and they perform regularly in comedy clubs in UK. Magic tricks are woven into little drama sketches. Their quirky characters engage in witty repartee.
Ouch! Barry’s tongue is skewered
Before you think the humour is mere novelty, the duo astounds you with first-class magic tricks. They were previous winners of numerous Scotland’s Young Magician Of The Year awards.
Barry and Stuart met at a magic circle event 10 years ago, and decided to pair their skills against older counterparts. Their electric chemistry and awesome tricks proved to be a winning combination as they soon toured local clubs and festivals, and even got their own TV show.
They courted controversy for one programme, called The Magic Of Jesus. They re-enacted the miracles of Jesus like turning water into wine.. That got a lot of Press. One bishop remarked: “Maybe these two fraudsters could try being crucified to see if they can rise three days later.”
But the Wicked Wizards’ brand of humour offended some members of the audience. Someone yelled “you suck!” as Barry and Stuart pushed the limits.
They don’t shy away from the taboo as they even demonstrated a voodoo curse on a member of the audience and seemingly conjured a ghost on stage. But it was all in good fun, as their witty exchange lightened the mood.
If you’re squeamish, keep away as there’s a lot of blood (fake), needles, pins and razor blades.
Despite the dark and twisted approach, Barry and Stuart perform a number of silly but impressive tricks that will make you smile.
I felt slightly short-changed though, as I had expected a big trick to end the night but it never came. Still, I enjoyed the show. Their quick fire humour, trickery and awesome audience rapport make a winning formula.
Wicked Wizards, presented by Gardner & Wife Theatre, is on at Pentas 1, KLPac until March 15. Tickets from RM48. Call 03-4047 9000 or visit www.gardnerandwife.com
Friday, February 27, 2009
0
It does take two, you know
First published in New Sunday Times
22 February 2008
It does take two, you know
Kimmy Kiew
Kimmy Kiew explores the relationship between two married individuals about to get it on for a night, writes MAX KOH
KIMMY Kiew knows a thing or two about directing a play in various languages. The Ipoh-bred young thespian has directed Chekov’s The Bear in Mandarin, Okiku — A Tragedy Retold in English, and recently Race — Four Original Plays in English and Malay.
So, are you surprised that Kiew is presenting The Bench in Cantonese?
The Bench, a two-character play adapted from the original Alexander Gelman text in Russian, explores the relationship between two married individuals about to have a one-night stand.
The man lusts to fulfil his desire while the woman yearns for true love. Will the rendezvous lead to an exciting affair or expose their own loneliness?
“In the end, the two individuals are forced to dig out the sad things about their lives and marriages. We will see how the characters change throughout the play and also explore the idea of sex equality in contemporary society,” says Kiew.
Tan Heng Leng
She says she first read the play in a book she bought in Beijing some years ago, and stayed intrigued by the premise of the story (a Chinese translation by Kwok Jia Shen).
The Bench is part of Kuala Lumpur Performing Arts Centre’s (KLPac) 2somes, a series of two-character plays directed by three directors exemplifying the best in contemporary two-handers onstage today.
The intimate nature of these plays allows the audience to experience the intense personal conflict between the two protagonists.
Other than The Bench, 2somes also offers The Secret Life Of Ophelia directed by Christopher Ling and A Life In The Theatre directed by Abdul Qahar Aqilah.
Why Cantonese? “Growing up in Ipoh, I’m most comfortable in Chinese. I picked up Cantonese from watching all the television dramas.
“There is a down-to-earth and slightly harsh quality to the Cantonese language which I feel is suitable for this play.”
The two protagonists in The Bench are well-known lighting designer Tan Heng Leng and thespian Ling Tang. Although Tan last appeared on stage in 2001, Kiew feels he is a perfect match for the role.
“We were classmates in college and so we have a history of working together. At first, I was afraid that he might be a bit guarded about his feelings, but he proved me wrong,” says Kiew who graduated from the Malaysian Institute of Art.
Ling Tang, a graduate of China’s prestigious Central Academy of Drama (which also trained Zhang Zi-Yi), was last seen in Loh Kok Man’s Animal Farm.
Kiew feels the language is not barrier to enjoying The Bench. “It’s not important if people don’t understand Cantonese. As long as there is good acting, I believe any audience can follow a story.”
But don’t fret — there’ll be English subtitles.
KLPac’s 2somes kicks off Feb 26 and ends March 8. Showtimes are 2pm, 5.30pm, 8.30pm. Tickets are RM15 and RM25, with discounts. Call 03-40479000 or visit www.klpac.org.
22 February 2008
It does take two, you know
Kimmy Kiew
Kimmy Kiew explores the relationship between two married individuals about to get it on for a night, writes MAX KOH
KIMMY Kiew knows a thing or two about directing a play in various languages. The Ipoh-bred young thespian has directed Chekov’s The Bear in Mandarin, Okiku — A Tragedy Retold in English, and recently Race — Four Original Plays in English and Malay.
So, are you surprised that Kiew is presenting The Bench in Cantonese?
The Bench, a two-character play adapted from the original Alexander Gelman text in Russian, explores the relationship between two married individuals about to have a one-night stand.
The man lusts to fulfil his desire while the woman yearns for true love. Will the rendezvous lead to an exciting affair or expose their own loneliness?
“In the end, the two individuals are forced to dig out the sad things about their lives and marriages. We will see how the characters change throughout the play and also explore the idea of sex equality in contemporary society,” says Kiew.
Tan Heng Leng
She says she first read the play in a book she bought in Beijing some years ago, and stayed intrigued by the premise of the story (a Chinese translation by Kwok Jia Shen).
The Bench is part of Kuala Lumpur Performing Arts Centre’s (KLPac) 2somes, a series of two-character plays directed by three directors exemplifying the best in contemporary two-handers onstage today.
The intimate nature of these plays allows the audience to experience the intense personal conflict between the two protagonists.
Other than The Bench, 2somes also offers The Secret Life Of Ophelia directed by Christopher Ling and A Life In The Theatre directed by Abdul Qahar Aqilah.
Why Cantonese? “Growing up in Ipoh, I’m most comfortable in Chinese. I picked up Cantonese from watching all the television dramas.
“There is a down-to-earth and slightly harsh quality to the Cantonese language which I feel is suitable for this play.”
The two protagonists in The Bench are well-known lighting designer Tan Heng Leng and thespian Ling Tang. Although Tan last appeared on stage in 2001, Kiew feels he is a perfect match for the role.
“We were classmates in college and so we have a history of working together. At first, I was afraid that he might be a bit guarded about his feelings, but he proved me wrong,” says Kiew who graduated from the Malaysian Institute of Art.
Ling Tang, a graduate of China’s prestigious Central Academy of Drama (which also trained Zhang Zi-Yi), was last seen in Loh Kok Man’s Animal Farm.
Kiew feels the language is not barrier to enjoying The Bench. “It’s not important if people don’t understand Cantonese. As long as there is good acting, I believe any audience can follow a story.”
But don’t fret — there’ll be English subtitles.
KLPac’s 2somes kicks off Feb 26 and ends March 8. Showtimes are 2pm, 5.30pm, 8.30pm. Tickets are RM15 and RM25, with discounts. Call 03-40479000 or visit www.klpac.org.
Wednesday, December 17, 2008
0
Top of her game (Sunday People)
First published in Sunday People, New Sunday Times
14 December 2008
14 December 2008
Top of Her Game
MAX KOH was enthralled by theatre heavyweight Faridah Merican’s performance in Bottom Top.
Mark and Faridah in Bottom Top.
THE name, Faridah Merican, is synonymous with local theatre. Referred by some as the First Lady of Malaysian Theatre, her contribution to the industry is immeasurable.
For 50 years, she has dabbled in the theatre scene by acting, directing and producing works. She and husband Joe Hasham founded The Actors Studio and are still the power couple in the local theatre scene.
However, it has been some time since Faridah charmed the crowd onstage.
So, hearing of her return to the limelight in Bottom Top, a play written by Mark Beau de Silva and directed by Hasham, was surely a must-see event.
It came as no surprise that tickets for the show were quickly snatched up.
I was mesmerised by the quaint and detailed set which depicted the couple’s home. It was warm and indicative of the mother and son’s relationship in the play.
Faridah played 52-year-old Bertha who was about to remarry. The 90-minute play saw Bertha having a funny but poignant discussion with her gay son, Melvin, as they prepared the guest list for the wedding.
When Bertha tried to get Melvin to invite his “special friend” to the wedding, he educated her on the social construct of his world.
Dressed in sexual innuendos and delightful wordplay, the observations of his world where mates were judged to be “bottom” or “top” was unravelled gracefully.
The subject could have come across as crude if not for Mark Beau’s script and the chemistry between the playwright and Faridah.
Watching Faridah for the first time, I was enthralled.
That was not to say that Mark Beau was not incredible himself.
Both actors imbued the characters with endearing presence, breathing life into them, making the audience feel like they were not merely eavesdropping but are part of the conversation.
There were laugh-out-loud moments in the play including a part where the disco lights were lowered, and Bertha delighted the audience with a bit of booty-shaking.
However, the play turned solemn at times as we pondered with the characters about relationships, social roles and love.
Bottom Top was a delightful comedy with acute contemplations on matters of the heart.
Faridah’s return to the stage was nothing short of breathtaking and certainly whetted my appetite for more of her stage skills.
For 50 years, she has dabbled in the theatre scene by acting, directing and producing works. She and husband Joe Hasham founded The Actors Studio and are still the power couple in the local theatre scene.
However, it has been some time since Faridah charmed the crowd onstage.
So, hearing of her return to the limelight in Bottom Top, a play written by Mark Beau de Silva and directed by Hasham, was surely a must-see event.
It came as no surprise that tickets for the show were quickly snatched up.
I was mesmerised by the quaint and detailed set which depicted the couple’s home. It was warm and indicative of the mother and son’s relationship in the play.
Faridah played 52-year-old Bertha who was about to remarry. The 90-minute play saw Bertha having a funny but poignant discussion with her gay son, Melvin, as they prepared the guest list for the wedding.
When Bertha tried to get Melvin to invite his “special friend” to the wedding, he educated her on the social construct of his world.
Dressed in sexual innuendos and delightful wordplay, the observations of his world where mates were judged to be “bottom” or “top” was unravelled gracefully.
The subject could have come across as crude if not for Mark Beau’s script and the chemistry between the playwright and Faridah.
Watching Faridah for the first time, I was enthralled.
That was not to say that Mark Beau was not incredible himself.
Both actors imbued the characters with endearing presence, breathing life into them, making the audience feel like they were not merely eavesdropping but are part of the conversation.
There were laugh-out-loud moments in the play including a part where the disco lights were lowered, and Bertha delighted the audience with a bit of booty-shaking.
However, the play turned solemn at times as we pondered with the characters about relationships, social roles and love.
Bottom Top was a delightful comedy with acute contemplations on matters of the heart.
Faridah’s return to the stage was nothing short of breathtaking and certainly whetted my appetite for more of her stage skills.
Monday, November 10, 2008
0
The Splendour of Love (Sunday People)
First published in New Sunday Times
8th November 2008
The splendour of love
MAX KOH
Touring theatre group Footstool Players examines the different sides of love. MAX KOH gets the lowdown from director Colin Kirton
Love, sang Nat King Cole, is a many splendoured thing. The many different sides of love, courtship, marriage and family are explored in touring theatre group Footstool Players’ production, A Crazy Little Thing Called Love, now showing in Kuala Lumpur Performing Arts Centre (KLPac).
Comprising short sketches that range from comedy to drama, the play addresses both the joyous and difficult sides of relationships.
“In this day and age, it is very easy to be cynical and jaded about love,” says Colin Kirton who directs and produces the play. “We hope that this play will give people hope about love and a new fresh start on the idea of it.”
The play comprises little sketches — a trademark of the theatre group — that not only focuses on courtship, but also relationships in the context of marriage and family.
“We are not trying to hide the pain or struggle but want to show that there is still new hope for difficult relationships,” says the Chinese-Scot who also acts in the play.
Colin Kirton
In other words, A Crazy Little Thing Called Love is more than fluff entertainment. “Our audience will ponder on love, life and relationships.”
While the title may borrow its name from a Queen song, the play was inspired by the realities of people’s relationships.
“In 2004, the non-governmental organization Focus on the Family asked us to come up with some sketches for their seminars.
“We came up with 25-minute sketches and took the show all over the country,” says Kirton. “It touched a lot of raw nerves. At that point, we knew that we wanted to expand on this theme.”
But Kirton who also acted in Broken Bridges – The Musical and Julius Caesar was only able to focus on this project at the end of last year.
In producing the play, the team members displayed unwavering commitment and passion. They had to attend rehearsals and performances unless there is an important family emergency. Rehearsals would intensify from once a week to every night when the performing date approached.
Scenes from two of the sketches
But of course, challenges were bound to happen. Kirton recalls an example: “One of our actors, Soon Ee Wei, was posted to Penang as part of his job during one of our performance run. Every weekend, he would fly down to one of the towns we were performing and fly back to Penang on Monday morning.”
Established in 2001, the Footstool Players began as a drama ministry in Subang Jaya Gospel Centre. It soon grew to become an inter-denominational team that performs in churches nationwide. Its previous productions include Runaway Bride and Walk His Trial.
“We are just a theatre group that is committed to our art form. We are here to share stories with the general public. This is a show about love and not faith.”
Besides churches, the team has also performed in schools and colleges.
“We can’t operate as a commercial organisation because it costs a lot of money. However, a financial burden was lifted when KLPac offered to sponsor the venue. “That was really a push factor for us.”
With more a sophisticated venue, Kirton emphasises that the focus is still on the performance.
“We don’t use a lot of props in our plays. Our set is minimalist as we put the onus on the actors to carry the story.”
This minimalism is due to its nature of touring to different venues in previous productions. In fact, before the performance in KLPac, the team has already performed the play in various venues in Klang Valley.
I had the opportunity to watch one night and left with something to think about my relationships in my life. There were instances I laughed out loud and times I silently pondered.
“The collection of little sketches is a trademark. This gives us the flexibility to talk about different facets of love in different periods of people’s lives,” says Kirton.
• Catch A Crazy Little Thing Called Love at KLPac’s Pentas 2 until Nov 16. Tickets: RM30 (adults)/RM20 (students, senior citizens, disabled). Call 03-40479000 (KLpac) or 03-20949400 (The Actors Studio @ BSC) or visit www.klpac.com. Also visit www.footstoolplayers.com.
A Tale of Two Strong Women (Sunday People)
First published in New Sunday Times
2 November 2008
Two Tales of Strong Women
Max Koh
As I watched a group of seven-year-olds gather outside Pentas 2 in KLPac, I was bemused by a sign that read: “Contains adult content”.
Surely, the children were at the wrong play. However, it was no fault of theirs. The poster for Kisah Gadis looked cheerful enough — a minimalistic design with splashes of striking pink that was sure to capture the eye. And there weren’t any warning labels on it.
Their elders had probably thought it was a Scenario kind of play and the children were probably there to learn to appreciate theatre for the first time.
Oh, how they would be surprised. I could see it was going to be amusing.
As we entered the hall, we were greeted by a man asleep on what appeared to be a bus-stop. The set was minimalistic, with just white-painted wooden planks framing it, rendering focus to the actors’ performances.
As the lights dimmed, the man woke up from his slumber. Mangli was the first play of the double bill and told the story of two long lost friends who stumbled into each other at the bus stop.
Scene from Mangli with Ashraf as the transvestite Idayu and Faisal in the role of the deranged and delusional Aris.
The sleeping man was the deranged and delusional Aris Mat Tam, played by Tuan Faisal (aka Tapai). Carrying a wooden plank with him at all times, the dishevelled figure appeared to have made the bus stop his humble abode.
As he played and talked with the plank, transvestite Idayu Sa’ayah, played by Ashraf Zain, came in. The “gadis” had just been robbed of her handbag and she began to confide in Aris about her terrible ordeal. However, as they catch up on old times, the reason behind Aris’ fall from grace was slowly unravelled before the audiences.
There were comic moments which drew much laughter from the audience. Ashraf’s comic timing was acutely executed, and there were jabs at the National Registration Department and the public transport system. At one time, a disco ball was lowered as the two actors belted out a song, much to the audience’s delight.
However, the play soon became dark as conflict arose between the two leads. At this point, as Aris’ psychological facade is unravelled, I could see the seven-year-olds begin to shift uncomfortably in their seats.
Hurtful words were exchanged. Mangli was more than just comic interplay between two strong actors. It actually explored how one could fall from grace into derangement. And how a friend’s genuine concern was futile when not welcomed.
Mangli was the maiden effort of playwright Adiwijaya. Although the script lacked direction at some points, the actors were able to carry the play through with their strong performances.
The second play, Gadis Jalan Burmah, was a 45-minute monologue filled with wit, humour and anger and was carried entirely by the talented Sherry Abdullah.
Sherry played a 42-year-old unmarried woman named Kartini Shuib who, whilst baking her own birthday cake, began to contemplate whether or not to date an insurance salesman, as suggested by her mother.
The very talented Sherry in the monologue as Kartini.
However, memories of past lovers – a Chinese doctor, a doktor haiwan, an American expat and her high school crush began to return to haunt her.
Sherry played the character with aplomb. There was subliminal depths in her performance amidst the loud and big gestures. In fact, the play would not have been as effective without Sherry.
However that was not to discount the script, wonderfully written by Shahredza Minhat, which gave acute and startling insights into the thoughts of Kartini Shuib.
The character could not have been so amazingly fleshed out by Sherry if the script was not strong. The character was very believable and as Sherry reminisces about past relationships, it showed the journey of a woman being shaped by her experiences.
Finally, Kartini decides to call the salesman, showing that despite past hurts and disappointments, everyone needed to be loved after all.
While both plays were wonderfully executed, a minor complaint was the use of harsh language in the presence of kids. But then again, the play contained adult themes and these words were necessary to flesh out the characters. And there was a warning sign outside.
It was just unfortunate that the kids were there.
I’m not sure what the seven-year-olds took home with them from the play.
Their first exposure to theatre could either come as a wonderful experience or a rude awakening to their innocent ears.
Either way, I’m sure the adults left with something to think about. After all, life is never a bed of roses, as exemplified by the two plays.
Kisah Gadis was Megat Sharizal’s second attempt at directing. His directorial debut, Tat Nenas, won him a Best Director Award in Theatre Festival Malaysia in 2004.
After four years, he returned to the director’s chair to bring us these two relatively unknown plays because he felt they needed a bigger audience.
I could understand why he chose these two plays. Branching out from the usual comedy fluff, the plays had depth and posed themes and questions that were thought-provoking.
It challenged the stereotype perceptions of Malay women and made us ponder over how experiences had shaped the identities of women today.
For a play performed in Bahasa Malaysia and Manglish, Kisah Gadis was a welcome departure from the fluff and shallowness of mainstream Malay offerings.
Let’s just hope that this would be a start for more thought-provoking plays from Megat, Adiwijaya, Redza and their ilk. Kisah Gadis certainly bodes well for the future of theatre.
2 November 2008
Two Tales of Strong Women
Max Koh
As I watched a group of seven-year-olds gather outside Pentas 2 in KLPac, I was bemused by a sign that read: “Contains adult content”.
Surely, the children were at the wrong play. However, it was no fault of theirs. The poster for Kisah Gadis looked cheerful enough — a minimalistic design with splashes of striking pink that was sure to capture the eye. And there weren’t any warning labels on it.
Their elders had probably thought it was a Scenario kind of play and the children were probably there to learn to appreciate theatre for the first time.
Oh, how they would be surprised. I could see it was going to be amusing.
As we entered the hall, we were greeted by a man asleep on what appeared to be a bus-stop. The set was minimalistic, with just white-painted wooden planks framing it, rendering focus to the actors’ performances.
As the lights dimmed, the man woke up from his slumber. Mangli was the first play of the double bill and told the story of two long lost friends who stumbled into each other at the bus stop.
Scene from Mangli with Ashraf as the transvestite Idayu and Faisal in the role of the deranged and delusional Aris.
The sleeping man was the deranged and delusional Aris Mat Tam, played by Tuan Faisal (aka Tapai). Carrying a wooden plank with him at all times, the dishevelled figure appeared to have made the bus stop his humble abode.
As he played and talked with the plank, transvestite Idayu Sa’ayah, played by Ashraf Zain, came in. The “gadis” had just been robbed of her handbag and she began to confide in Aris about her terrible ordeal. However, as they catch up on old times, the reason behind Aris’ fall from grace was slowly unravelled before the audiences.
There were comic moments which drew much laughter from the audience. Ashraf’s comic timing was acutely executed, and there were jabs at the National Registration Department and the public transport system. At one time, a disco ball was lowered as the two actors belted out a song, much to the audience’s delight.
However, the play soon became dark as conflict arose between the two leads. At this point, as Aris’ psychological facade is unravelled, I could see the seven-year-olds begin to shift uncomfortably in their seats.
Hurtful words were exchanged. Mangli was more than just comic interplay between two strong actors. It actually explored how one could fall from grace into derangement. And how a friend’s genuine concern was futile when not welcomed.
Mangli was the maiden effort of playwright Adiwijaya. Although the script lacked direction at some points, the actors were able to carry the play through with their strong performances.
The second play, Gadis Jalan Burmah, was a 45-minute monologue filled with wit, humour and anger and was carried entirely by the talented Sherry Abdullah.
Sherry played a 42-year-old unmarried woman named Kartini Shuib who, whilst baking her own birthday cake, began to contemplate whether or not to date an insurance salesman, as suggested by her mother.
The very talented Sherry in the monologue as Kartini.
However, memories of past lovers – a Chinese doctor, a doktor haiwan, an American expat and her high school crush began to return to haunt her.
Sherry played the character with aplomb. There was subliminal depths in her performance amidst the loud and big gestures. In fact, the play would not have been as effective without Sherry.
However that was not to discount the script, wonderfully written by Shahredza Minhat, which gave acute and startling insights into the thoughts of Kartini Shuib.
The character could not have been so amazingly fleshed out by Sherry if the script was not strong. The character was very believable and as Sherry reminisces about past relationships, it showed the journey of a woman being shaped by her experiences.
Finally, Kartini decides to call the salesman, showing that despite past hurts and disappointments, everyone needed to be loved after all.
While both plays were wonderfully executed, a minor complaint was the use of harsh language in the presence of kids. But then again, the play contained adult themes and these words were necessary to flesh out the characters. And there was a warning sign outside.
It was just unfortunate that the kids were there.
I’m not sure what the seven-year-olds took home with them from the play.
Their first exposure to theatre could either come as a wonderful experience or a rude awakening to their innocent ears.
Either way, I’m sure the adults left with something to think about. After all, life is never a bed of roses, as exemplified by the two plays.
Kisah Gadis was Megat Sharizal’s second attempt at directing. His directorial debut, Tat Nenas, won him a Best Director Award in Theatre Festival Malaysia in 2004.
After four years, he returned to the director’s chair to bring us these two relatively unknown plays because he felt they needed a bigger audience.
I could understand why he chose these two plays. Branching out from the usual comedy fluff, the plays had depth and posed themes and questions that were thought-provoking.
It challenged the stereotype perceptions of Malay women and made us ponder over how experiences had shaped the identities of women today.
For a play performed in Bahasa Malaysia and Manglish, Kisah Gadis was a welcome departure from the fluff and shallowness of mainstream Malay offerings.
Let’s just hope that this would be a start for more thought-provoking plays from Megat, Adiwijaya, Redza and their ilk. Kisah Gadis certainly bodes well for the future of theatre.
Sunday, October 12, 2008
0
Theatre: Tale of Two Women (Sunday People)
First published in New Sunday Times
27 September 2008
THEATRE: Tale of Two Women
Kisah Gadis explores the lives of several women as they reflect on the road travelled and the journey ahead. Director Megat Shahrizal speaks to MAX KOH about the double bill featuring Mangli and Gadis Jalan Burmah
FOR two plays that examine the lives of two women, it seems ironic that they should be written and directed by men.
But actor-director Megat Shahrizal is unfazed by this. Instead, he looks at it as a challenge; not only directing a woman’s perspective, but also working on two relatively new plays by emerging playwrights.
It is also Shahrizal’s second attempt at directing after a long hiatus since his award-winning Tat Nenas in 2004.
However, the time to direct his second play could not have come at a more opportune time.
Director Megat Shahrizal
“I was really fortunate to have won the Best Director Award (for Tat Nenas) for the Theatre Festival Malaysia in 2004.
“However, after that, I decided to focus on my acting as that is my first love,” says the 30-year-old who has acted in plays such as Puteri Gunung Ledang The Musical, P.Ramlee, and films such as 1957 Hati Malaya and Jarum Halus. He played former Prime Minister Tun Dr Ismail in 1957 Hati Malaya.
“After four years, the time is ripe for me to direct again or I might lose the touch. It’s really good timing because I’m not too busy, my friends are not too busy and the right scripts came along,” says Shahrizal who is pursuing his masters in performing arts at Universiti Malaya.
Kisah Gadis is a double bill production that explores the lives of two women as they reflect on the road travelled and the journeys ahead.
The first play, Mangli, tells the story of two longlost friends whose paths cross again at a bus stop after many years.
Their meeting forces them to rediscover each other and soon the conversation veers from pleasant to hostile, and the revelation of an attempted psychological suicide.
The second play, Gadis Jalan Burmah, features the monologue of a 42-year-old unmarried woman filled with anger, wit and humour.
Written with the local Malaysian context in mind, the protagonist Kartini Shuib contemplates about her past loves, her imminent future, and whether to go out with that prospective insurance salesman Kassim Rahman.
But what drew Shahrizal to these two plays?
“I chose these two plays because I want to see new writers getting attention in the theatre circuit,” explains Shahrizal.
“Having watched these plays before, I felt that they deserve a bigger audience.”
Mangli is the maiden effort by Adiwijaya and has only been performed thrice to a small audience.
“Adiwijaya is a friend of mine. After all, the theatre circle is so small that everyone knows each other. For years, we have been pushing him to write a play as he is an accomplished short story writer. After so long, he finally wrote a play and I decided that I must direct it... and get as many people as possible to watch it,” adds Shahrizal.
On the other hand, Gadis Jalan Burmah, is the fifth script penned by Shahredza Minhat (Redza), also an accomplished actor, having appeared in Otak Tak Centre, Romeo & Juliet and TOAST!
“These two scripts are really strong and I hope that I can bring it to a bigger audience,” said Shahrizal who studied Business Management but quit after getting bored in the industry.
On how the script is going to be interpreted by men, Shahrizal is totally taken aback that no women have given any input in the practice sessions yet.
“It’s seems really interesting that after so many practices, no one including the production crew said anything like ‘Wait, this is not how a woman thinks’. I supposed the script is really strong enough,” muses Shahrizal.
“In fact when I presented the script to Faridah Merican, she really liked it and agreed to be the executive producer.”
Shahrizal deems the two plays as a light production with a twist at the end of Mangli. The cast includes Ashraf Zain, Tuan Faisal and Sherry Abdullah.
This double bill marks the second instalment of The Actor Studios’s Teater Rakyat programme. The first was Anak Bulan Di Kampong Wa’ Hassan by Gene Sha Rudyn.
Being billed under the Teater Rakyat banner, Shahrizal is quick to offer his definition of the term.
“When people hear the term Teater Rakyat, they immediately think about traditional theatre. But that perception does not restrict me.
“To me, it simply means a play that is written by a Malaysian that is accessible to the Malaysian audience regardless of language or race. As long as it can connect to the audience, it is Teater Rakyat.”
Kisah Gadis will be staged at KLpac’s Pentas 2 from Oct 22-26, 2008. Tickets: RM25 (adults)/RM10 (students). Special preview night on Oct 22 and Saturday matinee on Oct 25 at RM10. Call 03-40479000 (KLpac) or 03-20949400 (The Actors Studio @ BSC) or visit www.klpac.com.
The Tao of Loi's Dance (Sunday People)
First published in New Sunday Times
26 April 2008
After four years, dancer Loi Chin Yu returns to the stage in a solo performance to explore the meaning of Taoism and its rituals. MAX KOH writes
SEATED by the quiet lake at the Kuala Lumpur Performing Arts Centre in Sentul, Loi Chin Yu doesn’t come across as a sage or a spiritual guru despite the religious nature of his upcoming dance. Dressed in a simple T-shirt and jeans, Loi tells me that he is just a seeker.
He is back on stage in My Calling My Stage, My Act after a four-year-hiatus. In this performance, he says, he explores the meaning of Taoism and his internal struggle for spiritual balance and peace.
By exploring the movements derived from Taoist ceremonial acts — speaking in tongues, chanting, ceremonial scriptures and such — Loi hopes to internalise the sacred scripture of the Tao Te Ching and find spiritual balance in his inner man.
"During my break from the stage, I was able to find the time to read the Tao Te Ching, the scriptures written by Lao Tze more than 2,000 years ago.
“Having grown up with so many Taoist practices around me, the book opened up a new understanding of Taoism which is of a different level than the rituals,” says Loi whose family house in Klang stood next to a Taoist temple.
“This spurred me to want to say something about Taoism. The message behind Tao Te Ching is that we need to return to Nature to find our spiritual balance. More than 2,000 years later, the message is still relevant today.”
Loi believes that truth and love can only emerge when the heart is settled.
“In every person’s life, there is a need to maintain a spiritual balance. Very often, we get ‘stuck’ in a certain emotion and state which arises from situations and circumstances in the past. We will never find the peace until we channel out (what’s) stuck in our hearts.
“Some of us find it in yoga, tai chi, or a hobby. For me, I find my balance on stage.”
It is precisely this reason that has brought Loi back to the stage. This is his way of internalising Taoist philosophy in his life.
“These four years has made me realise that I miss the passion of dancing and performing onstage. Dancing has always been my healing therapy. Without it, I find an imbalance in my spiritual side.”
Loi believes that everyone has to find their own way of self-therapy. “The spiritual man is like a tree. Without water, it will become dry and eventually wither away.
“Dancing rejuvenates my spiritual man.”
While the performance dwells on spiritual matters, Loi is adamant that he is not there to preach or impose his beliefs on other people.
“It is very much a personal journey.”
What Loi hopes to articulate to the audience is this: “If your heart is calm, then you are a god. When your calmness is strong like a mountain, you will find your own way to spiritual balance. It is your own journey. No one can tell you how to attain it.”
Loi’s love affair with dance began when he watched the Kwangsi Association perform at the Petaling Jaya Civic Centre in 1989.
“I was then in Form Five. I was taken aback by the contemporary and Chinese style of the Kwangsi Association. I found that the movement suited my body. Before this, I only dabbled in lion dance as the ball-bearer being chased by the lion. I was in high school then.” He laughs.
Loi joined the association and trained under Vincent Tan. Loi became a pioneering member of Nyoba Dance where he worked regularly with acclaimed dancer Lee Swee Keong.
Loi is also a fine arts graduate and designer of stage sets and domestic furniture.
His dance credits include The Tree, Lady White Snake — The Revenge, When Durian Meet Banana, Red Banquet, Four Men One Face, and SeeSaw. He has also appeared in several independent films including Man From Thailand and Survival.
Loi has also been involved in many musical productions including Puteri Guning Ledang, P. Ramlee – The Musical, September Tales (Dama Orchestra) and Little Mission Impossible.
When not dancing, Loi is an award-winning set designer. He won the BOH Cameronian Award for Best Set Design for Leave Me Along (Dua Space) in 2004. He owns the company Five E Production and designed the set for My Calling My Stage, My Act.
“I will be building a square platform similar to the one monks use to meditate in the mountains. The only difference is that it will be indoors. It’s going to be big and serious.”
My Calling My Stage, My Act will be showing at KLPac, Sentul Park. Shows begin at 8.30pm on May 2-3 and 3pm on May 4. Ticket prices are RM25/RM15 (students, senior citizens & the disabled). Call 03-4047 9000 for bookings or log on to www.klpac.com.
The Talented Nick (Sunday People)
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| Davis (second from right) with his indie band |
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| Davis composed the music for Three from scratch |
Published in the New Sunday Times
April 13, 2008
The talented Nick
Nick Davis, all of 20 years, is scorching up the local theatre and music scene, writes MAX KOH
ACTOR, musician, composer and occasional film-maker. He is 20-year-old Nick Davis and he’s already acted in three plays, composed music for two productions and directed, acted and composed the soundtrack for short film, Shells On The Beach.
Right now, he’s the music director for Helena Foo’s Three, a physical theatre based on Mitch Albom’s Five People You Meet In Heaven.
With that kind of resume, it is hard to imagine that the boyish-looking Davis graduated with a diploma in performing arts only two months ago.
“Even though I was in college, I made it a point to get involved as much as possible in the industry,” says Davis, lounging on a chair at the Kuala Lumpur Performing Arts Centre in Sentul.
His involvement in the industry paid off handsomely. He interned at KLPac for his diploma and will soon be working with well-known thespian Jo Kukathas for Air-Con, which is an ICT FirstWorks piece by Shanon Shah.
“It is really great that I am able to work with Jo. I went for the audition without any expectations and was elated to know I got the part,” says Davis.
Right now, Davis is focussing on Three. The story is about a man who meets five people in heaven and how his little decisions in life has significant consequences on them.
Three is a physical theatre piece where the story is entirely told with body language set to original composition by Davis.
How did Davis come to work with Foo?
“Helena was my senior at Sunway College. She roped me in when she directed her first production The Shape Of Things in 2006 where I played with a live band onstage. I guess it is our friendship that really helps us to be able to work together.”
For Three, Davis composed the music from scratch.
“I am really interested in composing soundtracks and see how the movements and music work well together. You know, like background music for a film. And we also play with a live band during the performance, so you’ll be able to see how we improvise during the show.”
Davis described the music for Three as a blend of rock and new age. “It’s something like Explosions In The Sky or Mogwai.
“At first, the dancers did not get it. It was a bit tough to choreograph the movements according to the music. But once I got the basic melody we were able to coordinate things. There was a lot of interaction. In fact, I joined most of the choreography sessions even though I did not have to be there,” says Davis, clad comfortably in a black T-shirt and jeans.
Davis’ first love is music. He learnt to play the drums when he was 15, and soon taught himself how to play the guitar and keys. He’s been performing music around the indie circuit with other singer-songwriters.
So what’s the big plan?
“Well, I hope to record a demo CD soon. I am actually looking for a cellist in order to complete a trio with me and another piano player. So if there’s any cellist out there, please contact me.” He laughs.
“What I hope to do is a back-pack music tour around the world.”
• Three will play at Pentas 2, KLPac, Sentul Park until April 20. Tickets: RM25/RM15 (students, senior citizens and disabled). Shows begin at 8.30pm for April 15-19, 3pm (April 13 & 20).
Call 03-40479000.
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