New Day for Wayang

Published in Sunday People, New Sunday Times
6 December 2009

Hope for the new generation (Merdeka)

Published in Sunday People, New Sunday Times
30 August 2009

Hope for the new generation



IN a quaint Chinese restaurant with décor that recalls the bygone era of imperial China, erhu player Gan Boon We recalls the early days where he learnt the Chinese instrument in high school.

“I was really passionate about it. Playing and practising the instrument was all that I ever knew. I would practise my fingering whenever I could, on the bus or even at the dinner table,” recalls Gan.

“Unlike today, when children are easily distracted with so many things like computers. We could really be focused on what we love to do. I suppose it is harder to be skilled at one thing today.

“Though there are more opportunities today to pick up Chinese instruments, it is our own initiative and interest that drives the person to do well.”

Gan is the concert master and erhu player of the renowned Dama Orchestra. A former national erhu champion, he has been instrumental in defining Dama’s musical performances and has produced a number of its critically-acclaimed recordings such as September Tale and Spring Kisses Lover’s Tales. He has also performed in numerous cross-cultural projects such as the Gambus Musical Fusion concerts.

At the recent preview of Dama’s latest musical I Have A Date With Spring, Gan says: “What makes me proud of being Malaysian is that we are able to retain our own cultural identities while living harmoniously and peacefully at the same time.

“For example, I have seen Indians and Malays who come and enjoy our shows despite the cultural and language barriers.

“The 1Malaysia concept is very good. I really hope to see a unified nation and equal opportunities for all regardless of race, creed or colour, as exemplified by the recent decision to end the bumiputera quota system for businesses,” says Gan.

Dama Orchestra’s I Have A Date With Spring — The Musical is scheduled for October. — By MAX KOH

True Blue Heroes

Published in Sunday People, New Sunday Times
9 August 2009



Click on picture to read. :)

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.

Marion dazzles (Sunday People)

First published in Sunday People, New Sunday Times
24 May 2009

Marion dazzles



PEOPLE thronged the stalls of the Arts For Grabs and KL Alternative Bookfest at the Central Market Annexe, but the din paled beside the composed silence of a lone dancer in the next room. 

All eyes were fixed on Marion D-Cruz who was taking her audience on a journey of her seminal works as a dancer, choreographer, teacher and student in her 35-year career.

Encountering D’Cruz for the first time, I was mesmerised by her Gostan Forward performance-lecture. 

Whether relating her life’s experiences in New York or dancing with a Balinese topeng tua, I was suddenly transported with her to these different episodes of her life. It was like listening to an old friend telling you something new, yet familiar. 

Marion began by reminiscing of the “sweet, gentle” Malaysia of her youth. In 2007, she asked 40 Malaysians from different walks of life and professions to tell their own stories of what it means to be a Malaysian. 

Twenty-two Malaysians responded and what resulted was Bunga Manggar Bunga Raya, a work signifying the all-inclusive Malaysia sentiment that’s lost today.

She shared of how it was a year of personal loss (the passing of her husband, celebrated thespian Datuk Krishen Jit) as well as national grievances about current affairs and corruption.


D’Cruz relating her experiences using a Balinese topeng tua 

Bunga Manggar was memorable for D’Cruz as she saw how these performers and non-performers were free and uninhibited in inventing new dance moves and expressions. 

“Unlike most dancers who are trapped by the sedia ada vocabulary, these people could be mad and do what they want to do,” said D’Cruz.

We then went back to 1989 where she collaborated with visual artistes for the inaugural Video Art Festival in Kuala Lumpur.

The performance was based on a painting which detailed the Sook Ching ritual held during the Japanese Occupation.

Sook Ching means “purification by elimination” where the Japanese would execute informants and communists pointed out by hooded figures. 

These chosen ones would have to dig their own grave before being shot by the Japanese army. D’Cruz recounted how the show was first banned by the government but eventually given the green light when the Japanese embassy said, “Show it, it is part of our history”. 

D’Cruz then took us to the 1980s and New York where she went to find herself as a dancer and choreographer. She recalled how she taught silat to four white men who eventually performed it in the buff, much to her horror! 

It was in New York where D’Cruz began to choreograph her own solo performances such as terinai. 

Another significant performance for D’Cruz was Urn Piece in 1988 where she explored the relation between text and movements. 

I was particularly entranced by the video and pictures of the dance which made me wish I had witnessed that dance.

Part of the success of Gostan Forward is the chemistry between D’Cruz and her audience. There was genuine affection as some of the audience members were her friends of more than 30 years. 

Fellow thespian Anne James also joined D’Cruz onstage as they gave a heart-rending snippet performance of Swan Song, a piece based on a poem detailing the last seven hours of a prostitute called Maria Zaitun. 

This performance was moving not only because of the subject matter, but the enduring friendship and camaraderie displayed by the duo. 

Gostan Forward offered a mix of performances and lecture (I’d rather call it story-telling), and confirmed D’Cruz as a pivotal figure in the local dance scene. But watching snippets of her performances just whetted my appetite for a full performance.

Pictures by Philip Craig

Bersantai in Singapore

First published in Sunday People, New Sunday Times
10 May 2009

Bersantai in Singapore


Rhythm in Bronze at a practice session for its Singapore show – Picture by Brian Fang

MAX KOH catches up with the women of bronze, who are set to beat new rhythms in Singapore

THE last time I met the Rhythm in Bronze (RiB) ladies, we were sitting in a small room in Universiti Malaya as we discussed their new acquisition — their very own gamelan instruments.

Strewn all around the stuffy room were shiny, new gongs, gambang (xylophone), suling (bamboo flute), demang, slentem, and saron (metallophones) which had been specially commissioned and made for the troupe in Solo, Indonesia.

They had also just held the traditional buka panggung (opening) ceremony at UM’s Department of Southeast Asia Studies exactly a year ago.

So it’s with a sense of déjà vu when I descended the steps leading to their practice room at UM. I remembered their warm reception, and how I struggled to jam along in their practice session.

The RiB ladies will soon perform for Singapore’s Flipside festival, from May 22-24, in conjunction with the Singapore Arts Festival.

The group will be performing three half-an-hour sets that consist of tunes such as Sekar Anyar, Sibaru Pastima, Ketawang, Pilogue/Jungle, Kosalia and Lagu Untuk Teman Lama.

The troupe will try something different for the festival in order to suit the theme of Santai! Rib Style. It will be more laidback than the fierce energy the group so effortlessly channels through its performances.

Says group member Ann Salina Peter: “Just like the word santai (relax), we are incorporating a guitar and bass into our music in order to fit the gig’s theme.

“To achieve that, we have rearranged some of the songs to make them mellower instead of the intensity of some of the songs we are known for. It’ll be different but still exciting.” What’s also exciting is the fact that this will be the first time RiB will be performing out of the country. “We are really excited about it,” beams RiB manager Sharmini Ratnasingam.

But she was a bit taken aback when the sponsors approached her.

“When they first talked to us, they were asking if we could fit into the ‘heavy metal’ theme,” says Sharmini with a hearty laugh.

“Well, I knew that we don’t have fiery guitar solos in our repertoire although we are literally ‘heavy metal’ (another laugh). But in the end, it all worked out and so we will be showcasing our brand of gamelan in Singapore.” Another first for RiB is the male factor in the troupe.

“Since we began in 1997, we have always been an all-girl troupe while we do have occasional guest male players,” says Christine Yun-May Yong.

“This Singapore gig will see an equal number of men and women players for the first time.” So does the presence of men change the group dynamics? “At first, I thought that it would be the same but I was soon proven wrong,” shares Peter. “We have played with some of them before but it is different when we sit down and play together for some of the longer pieces.

“It takes time to emotionally gel together.” On their blog, Sharmini shared how the presence of men means less girly talk and no more uncensored remarks.

“The guys are good but it’s more than just being technically right. Half of the practice time is to gel together so that the music comes out and not just the notes,” says Sharmini.

“It takes time for the group to achieve that level of chemistry where we can tell from each other where we are going in the music. It is a form of partnership that can only be forged after years of playing together.” Ever since they got their own gamelan instruments, the girls have been busy.

Last year, they performed at the Terengganu gamelan festival and the Sultan’s Jubilee Celebration in Kedah. They were also part of a community project for Women’s Aid Organisation where they held a series of classes teaching women and children how to play the gamelan.

“This year is also busy for us,” says Sharmini, explaining that RiB is slated to perform at the Klang Music Festival and may perform at this year’s KLUE’s Urbanscapes.

The RiB has also recently started a sister group unofficially called the RiBlets. “We have been auditioning and training some of the new blood. Ann (Peter) is the musical director and hopefully you’ll get to see them perform soon,” says Sharmini.

With such zest, it is no wonder that RiB continues to grow after 12 years of being together.

Catch Santai! RiB Style at the Esplanade Theatres from May 22-24. The outdoor performance will start at 7.30pm (Fri-Sun), 8.45pm and 10pm (Fri and Sat only). Check rhythminbronze.wordpress.com or www.esplanade.com for details.

A Modern Mahsuri

First published in Sunday People, New Sunday Times

19 April 2009

A Modern Mahsuri

Actress Vanidah Imran puts a modern twist to the role of Mahsuri in the latest musical reinterpretation of the tragic tale, writes MAX KOH

I remember hearing the tragic story of Mahsuri when just a child. I was on a boat heading for Pulau Langkawi when I was told how the heroine was wrongly accused of adultery and was executed by stabbing.

As white blood flowed from her wounds signifying her innocence, she laid down a seven-generation curse on the inhabitants of Langkawi.

It is no wonder that the story commands such an attention. And, it gets a new lease of life in Fauziah Nawi’s Teater Mahsuri to be staged at the Istana Budaya soon.

Screen siren Vanidah Imran will take on the titular role, working alongside singer Azharudin (Arja) Ramli (Akademi Fantasia 4), thespian Azman Hasan, and veteran actress Azizah Mahzan.

Some of the female performers in Mahsuri

“It is a great privilege to play the character as I have always been fascinated with Mahsuri’s story,” says Vanidah.

“I want to bring a new quality to the role that modern audiences can easily relate to.”

In preparing for her role, Vanidah admitted that she did not watch any of the previous film versions, as she did not want to be influenced by their portrayals.

“I want to express a different take on the role, and I completely trust the direction of Fauziah to bring out the character in me,” adds Vanidah who was last seen onstage in Muzikal Putra.

“But I’ll probably watch the film versions after I’m done,” she adds with a lovely laugh.

Vanidah describes her role as a regular kampung girl who is trapped in a situation where she is accused by her jealous mother-in-law of adultery.

This happens when her husband, Wan Darus, sets off to war and a handsome peddlar, Deramang, comes to visit Mahsuri and her parents.

Rehearsals are fun

The green-eyed mother-in-law accuses Mahsuri of adultery when she gives birth to Darus’ son, causing both Mahsuri and Deramang to be sentenced to death.

“The musical allows me to channel Mahsuri more as a regular person (and less of a mythical figure),” says Vanidah.

The musical features a number of songs composed by Rahimidin Zahari, and include duets with Arja and Azman.

This is a new experience for Vanidah as she will be singing “live” for the first time in a staged musical.

“I’m slightly nervous. Previously, I had my vocals recorded in the studio first. These were then played during the show.”

For this, Vanidah says, she has to ensure she eats right to take care of her vocals. But she loves the challenge, including learning some silat moves, which she describes as a load of fun.

She also describes the cast as a good mix of new and old actors.

“This is something new for Arja who has no previous acting experience. On the other hand, you have veterans like Azizah (who plays Wan Endah) and Azman Hasan (Deramang). The mix is really great as we get to learn new things from each other.”

With many acting credits in films and television under her belt, she still feels most at home on stage.

“I’m really pushing myself and working harder for this play as I know that people’s expectations are quite high. The reason why I love theatre is that you are constantly exploring the character.

“It doesn’t matter if you have played the role for one night, you can always bring a new side to her the next time. And theatre demands you to be consistent throughout the whole play, something very different from acting in films and TV,” explains Vanidah who first debuted onstage in Megat Terawis in 1994.

Vanidah has acted in films such as Histeria and Akhirat. She will soon appear alongside Afdlin Shauki in Setem and Papadom coming out soon this year.

For now, Vanidah will mesmerise the audience as Malaysia’s most famous folklore heroine, Mahsuri.

• Catch Teater Mahsuri at 8.30pm from April 24-30 at Panggung Sari Istana Budaya. Tickets: RM30, RM50, RM70, and RM100. Call 03-41498600 or 03-40265558 or visit www. istanabudaya.gov.my.

Behold, real life

First published in New Sunday Times
22 March 2009

Behold, real life
MAX KOH



A group of people living with HIV/AIDS takes the unconventional road to raise awareness on the dangers of drugs addiction and the diseases, writes MAX KOH

ONE Saturday morning, the quaint town of Batu Arang was awash with excitement as people gathered at SMK Tuanku Abdul Rahman for the first BA Pesta Komuniti (Community Festival).

The Fallen Leaves Theatre Group (FLTC) was performing a play about the dangers of drug addiction and HIV/AIDS, amid a string of short talks by community leaders and representatives from the Malaysian AIDS Council.

Despite the heat, all eyes were on the performance Jangan Main!, a story about a guy named Zam and how he became ensnared in the world of drugs.

There was an air of ubiquity to how the cautionary tale unfolded — Zam skipped school with friend, Zam was peer-pressured into smoking, Zam drank cough syrup and soon, Zam was hooked on hard drugs.


Gritty realism that captured the attention of the audience

Sure, you must have heard a version of the story before but there is a gritty realism to how the events were portrayed in the play.

The “actors” were uncannily successful in capturing the audience’s attention. The scenes were based on the actual experiences of the cast themselves.

FLTC comprises recovering drug addicts and people living with HIV/AIDS.

Abdul Manap, who plays the older Zam, soliloquises: “Siapakah aku di dunia ini? (Who am I in this world?)”

Garbed in a white T-shirt with a pink ribbon on the sleeves, Manap is a-fire about the dangers of drug abuse and, through performances and workshops, tries to reach out to those at risk of drug addiction.

FLTC had its origins in June 2006, when Cloudbreak Creative Centre was invited to help residents of Positive Living Community (PLC), a local HIV/AIDS hospice in Batu Arang, in a drama therapy programme.

Company’s strongperson and producer Jade Ong relates how the weekly workshops sparked their imagination and soon, a new breed of writers eager to share their stories emerged.

However, it was only after a trip to a theatre performance (the members had not, until then, seen a live theatre performance) that they had the idea to develop their personal stories into a play that would raise awareness of drug abuse and HIV/AIDS.

The first show was at The Actors Studio in December, 2008, and it was sold out. It met positive response and highlighted the stigma faced by those living with HIV/AIDS.

The company brought the show to Kuala Lumpur, Kota Kinabalu, Penang and Malacca.

In Jangan Main!, we watched as Zam fell deeper into the world of drug addiction.

The message that sharing needles and indiscriminate sex were dangerous really drove home when acted out so realistically, even against the lighter moments such as busking (the cast played instruments).

The play also touched on the stigma that AIDS patients faced. In one scene, a reformed Zam burned the clothes given him by his late friend afflicted with AIDS.

The scene was simple but poignant.

The Pesta Komuniti was held for the first time in Batu Arang, a small town that houses a few drug rehabilitation centres and HIV/AIDS Hospices.

About 500 people turned out for the two-day event which included a workshop with the students of SMK Tuanku Abdul Rahman.

A chat with a cast member reveals that more work needs to be done to increase awareness.

“Even here in Batu Arang, a primary student suffering from HIV was kicked out of school when one of the parents found out about it. And it happened again in the next school he was enrolled in.”

Nevertheless, the work continues.

While the focus is still on the members’ recovery process, the group is also working to renovate its studio, Cloud 9, and to manage themselves independent.

Currently, individuals from Cloudbreak make up part of FLTC. George Wielgus is the director while Ong is the producer.

At Cloud 9, the residents were eager to show visitors around.

The spacious house had its interior walls adorned with mahjong paper that visitors were welcomed to write a lyric of their favourite song, a poem or even draw a self-portrait.

On another hanging from the wall, the team members had written or drawn their goals and visions for the group this year.

“We hope more people will invite us to perform because the dangers of drug addiction and HIV/AIDS still remain unspoken in our country,” says Ong.

After each performance, the actors would engage the audience in a forum as well as involve them in a form of participatory theatre.

“After all, the drama-based approach has proven to be rather powerful and effective,” she adds.

For more information, visit fallenleavestheatrecompany.wordpress.com.

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.

PGL enthrall yet again

First published in New Sunday Times
22 February 2008

PGL enthralls yet again



Returning for a third season, Puteri Gunung Ledang: The Musical continues to draw the crowd. It also marks the swan song of Tiara Jacquelina in the titular role, writes MAX KOH

DATIN Seri Tiara Jacquelina as Gusti Putri in Putri Gunung Ledang: The Musical — for the fourth time, the first being in the film directed by Saw Teong Hin, and the rest on stage — is still a wonder to behold. The diminutive diva must be proud to have seen the franchise grow from strength to strength throughout the years.

The first two seasons drew more than 50,000 people, garnered rave reviews and bagged numerous BOH Cameronian Awards. Putri Gunung Ledang revitalised the local musical theatre scene in Malaysia. Not bad for a venture which began as a humble ambition to put up a world-class musical theatre.

However, this season is bittersweet for Jacquelina. Having been the producer of the film and then its theatrical reincarnations, she is saying goodbye to the titular role she’s held for about six years.

So, today, watching her swan song as Putri was an enthralling experience. The ease with which she slipped into the character and her commanding presence kept me glued to my cushioned seat.

She infused the character with a quiet beauty and graceful mastery, transformed the character from a naive, love-struck princess at the beginning to an angry, jilted lover in the end.

Her soulful vocals were as amazing as her dancing was graceful.

But Jacquelina is but one integer in the sum that adds up to a wonderful play.

Onstage is a very capable cast — the hunky Stephen Rahman-Hughes as Hang Tuah, A.C. Mizal as Majapahit king Gusti Adipati, and Adlin Aman Ramlie as Sultan Mahmud.

Having neither watched the film nor the previous two seasons, I was completely blown away.

Set in the 15th Century, the musical starts with a scene in the kingdom of Majapahit, where King Gusti Adipati is up against a possible coup from Demak. Meanwhile, his sister Gusti Putri prays for a man who would win her heart.

Along comes an entourage led by Admiral Hang Tuah and the pair falls in love.

When Majapahit is threatened by a coup, Adipati turns to Sultan Mahmud of Malacca for help. Sultan Mahmud agrees, in exchange for Gusti Putri’s hand in marriage.

But Gusti Putri and Hang Tuah have vowed themselves to each other. When Hang Tuah is sent to Demak for peace talks, Putri escapes to Gunung Ledang to wait for her lover.

Hang Tuah is then sent to Gunung Ledang to claim the princess’ hand in marriage for the Sultan. The princess in her rage sends out seven impossible conditions for Sultan Mahmud, including a bowl of his son’s blood. It all culminates in a tragic climax.

Under the direction of Datuk Zahim Albakri, the many characters were fleshed out wonderfully.

Rahman-Hughes more than impressed with his hunky good looks and amazing vocals. He really got into character. A.C. Mizal seemed to enjoy playing his character, Adipati.

Adlin shone when he burst unexpectedly into a cabaret-dancing Sultan that floored the audience. And Ida Mariana shone despite her brief stage time as Bayan, Gusti Putri’s nanny. She gave a gutsy performance.

Adding magic to the production was the wonderful set by Raja Maliq which made good use of stupas to transport us back to the 15th Century Majapahit. It was really breathtaking to see how they managed to change the scenes by just pushing the stupas around the stage.

Dick Lee’s wonderful musical score under the direction of Roslan Aziz truly brings the musical to life. By combining Eastern influences in its Broadway-style music (big choruses and melodious anthems), they have come up with a soundtrack that brings out the spirit of the show.

This season has also seen the inclusion of optical illusions which made the musical more mystical. Coupled with fireworks, it was an eye-opening experience to see characters appearing and disappearing into thin air onstage. I thought it was a cool inclusion in a musical play.

I do have minor gripes such as some technical glitches throughout the show, and a tiny wardrobe malfunction but these didn’t detract me from ngenjoying a terrific show.

Last day to catch Puteri Gunung Ledang: The Musical, brought by Enfiniti Productions Sdn Bhd, at Istana Budaya, Kuala Lumpur. Call 03- 40265558.

Top of her game (Sunday People)

First published in Sunday People, New Sunday Times
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.

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.

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

The Tao of Loi’s dance

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.

Dance of Tribute (Sunday People)

Published in the New Sunday Times
7 September 2008


Madangopal Narayanan as Rama

Dance of tribute

By Max Koh


IN the rite of passage for a bharathanatyam dancer, there comes the time for the arangetram, the graduation performance that signifies his or her readiness to perform to the public.

The disciple is ready, the guru pronounces.

For 13 years, Madangopal Narayanan trained under many gurus in order to reach this stage.

The blood, sweat and tears are well worth the diorama that he is about to offer tonight at the Panggung Eksperimen Aswara.

This is his arangetram, his offering to the world as a dancer coming of age.

The arangetram is no easy feat. The duration of an arangetram is about two hours and he needs to have the stamina, concentration and determination that only come with hours or practice.

Madangopal will be performing seven pieces tonight, some of them choreographed by TFA’s head of bharathanatyam Shankar Kandasamy.

For this event, Madangopal trained even harder for close to two months. “In order to perform that long, you have to train your body and mind in order to get used to it,” said the 19-year-old who trains about five to six hours daily at the Temple of Fine Arts (TFA) in Brickfields.

He recently completed his A-Levels at Methodist College and hopes to study medicine. “Only in the final two weeks was I able to settle down and find myself in that state of readiness. In dancing, the mind and body is the hardest to discipline.

“It may be initially taxing, but when you find it — you can truly immerse yourself in the joy of dancing,” said Madangopal who is under the tutelage of Vasuki Sivanesan.

While Madangopal is excited about his first solo full-repertoire performance, he could not have done it without the important people in his life — his parents and gurus.

“My mother is a dance teacher (Shyamala Narayanan) while my father works at the TFA. So naturally, as a kid I was forced to learn to dance. I didn’t like it at first but then one day it hit me,” recalls Madangopal. “In Hinduism, the word guru entails a lot of love and dedication.

“In the beginning, I used to hate dancing because it was so difficult. But when I realised the love and dedication that my gurus has laboured for me, I made it an effort to improve myself.

“Eventually, I found the joy of dancing.” Narayanan dedicates his performance to all his gurus including Geetha Shankaran Lam and Shankar.

“They are some of the most important people in my life. I realised how privileged I am to have these gurus to guide me,” said Narayanan. “I wouldn’t be here without them.”


Catch Madangopal Narayanan’s arangethram at 7.30pm today at Panggung Eksperimen Aswara, Kuala Lumpur. Free admission.

Fired Up About Gamelan (Sunday People)

First published in New Sunday Times
21 July 2008

Fired up about gamelan
MAX KOH

After 11 years, contemporary gamelan troupe Rhythm in Bronze has snagged four awards at the recent BOH Cameronian Awards and finally got its own gamelan set. MAX KOH talks to the women of bronze

JUST like the unwavering tone that is made when the ‘gamel’ (hammer) hits the bronze bowl, the women performers have kept their eyes on an unswerving artistic goal since Rhythm in Bronze was started in 1997 – to make good music for today’s audiences.

Their joy and passion for the music are reflected in their eyes and the way they play the music.

Relentless. Poetic. Graceful, yet powerful.

RiB was incepted by Sunetra Fernando (currently on sabbatical) in 1997. A former lecturer at University of Malaya, she got her friends together to form a new kind of gamelan performance, one which brought the traditional instrument to a contemporary concert stage.

Fusing traditional Javanese, Malay and Sundanese musical elements, they brought the instruments to new audiences by commissioning the works of local composers such as Hardesh Singh, Saidah Rastam, Michael Veerapen, Mond Nasir Hashim, Jillian Ooi, Susan Sarah John, Ben Pasaridu (Indonesia), Gareth Farr (New Zealand) and Sunetra herself.

Through much hard work and toil, the RiB has managed to carve a niche following in the local music scene with its brand of contemporary gamelan music.

The women write and play new compositions for the instruments as well as fuse it with theatre for a different kind of musical experience.

After 11 years, the group has finally got its own gamelan set, sponsored by the HSBC in the Arts programme.

I met RiB at its weekly practice session in Kuala Lumpur recently. The room was filled with an assortment of gamelan instruments.

RiB spokesman Sharmini Ratnasingam quickly apologises: “I’m so sorry that it’s stuffy in here. We are just temporarily using this place to store our instruments thanks to a friend.”

All around the room were the shiny new instruments: the gongs (ah, the big bronze plate that lets out a big boom when hit), the gambang (xylophone), the suling (bamboo flute), celampung (plucked zither), demang, slentem and saron (metallopohones, on which I had the pleasure of playing with the ladies after the interview. Big smile and achievement for me).

My eyes traced the intricate designs carved on the wood instruments. They seem to leap out of the wood as the music emanated from the metal.

Seated around the room were other RiB members including Adilah Junid, Christine Yun-May Yong, and musical directors Seow Lai Fong and Susan.

The room was small and hot, but that did not douse the high spirits of the troupe.

“Having our own gamelan set is truly a pride and joy for the group,” says Sharmini.

“It certainly makes practice much easier for us as we had limited time to practice when borrowing other people’s establishments and instruments to perform.”

“Now we can have a say on what we want to do in our performances,” adds Yun, the youngest addition to the troupe, with a beam.

The new gamelan set was specially commissioned by the ensemble when Sharmini and Sunetra went to Solo, Indonesia to meet the gamelan makers.

“There are no gamelan makers in Malaysia and also no ready-made ones sold in stores.

“Following tradition, we had to travel to Solo to specially commission a gamelan set to be made and that is truly our own. No two gamelan sets are alike,” explains Sharmini.

It took several months for the gamelan set to be completed before it was sent to Kuala Lumpur. So are the women excited?

“It had been two years since we got the money before we finally decided to get our own gamelan set. We were a bit nervous. The excitement slowly sank in when the instruments finally made their way here,” recalls Sharmini.

Susan adds: “I guess the climax happened during our first rehearsals with our new instruments. It was like, wow, they are finally here and they are ours!”

Although RiB’s style is contemporary, the troupe had a traditional buka panggung (opening) ceremony at UM’s Department of Southeast Asian Studies in May.

“We had Pak Nasir (a renowned wayang kulit practitioner) bless our instruments,” recalls Sharmini, smiling. “Then we performed for the first time with our new instruments for an audience.”

With their new gamelan set, the women are ready to further explore musical boundaries and create ground-breaking performances.

In the works is a three-year plan where RiB plans to restage Alih Punggong in the international arena and another music concert, Gamelan Myths, by the end of the year — if there is enough funding.

Coming up soon is the Terengganu World Gamelan Festival next month and also the Rhythm in Bronze in the Community Project for Abused Women.

“Hopefully, we will be able to come up with a second album in the future,” adds Sharmini.

RiB’s first album called Rhythm In Bronze – New Music for the Malaysian Gamelan was released in 2001 and featured original compositions by local composers such as Sunetra, Veerapen, Tan Sooi Beng and Suhaimi Mohd Zain.

RiB’s music spring from diverse collaborative collaborations: Malay, Javanese and Balinese gamelan, Carnatic music, Chinese percussions, Malay and Sufi poetry.

Its achievements are the successful development of a new repertoire, regular concert series, the production of its first CD, and the ensemble’s use of contemporary theatre.

RiB has collaborated with Malaysian Philharmonic Orchestra (MPO) associate conductor Kevin Field and The Song Company’s Roland Peelman from Australia.

In 2005, RiB received three BOH Cameronian Awards — Best Group Performance (Instrumental), Best Group Performance (Voice), Best Musical Direction, for the Wujud Antara concert at the Dewan Philharmonik Petronas.

That year, RiB worked with the late thespian Datuk Krishen Jit to create the first gamelan music theatre — a new form of theatrical performance solely by gamelan musicians — called Monkey Business.

The 2007’s Alih Punggong continued to explore the new form and helped RiB bag another four awards at the 2007 BOH Cameronian Awards — Best Group Performance (Instrumental), Best Musical Direction, Best Original Composition and Best Production Value.

With a new gamelan set in hand, rest assured that we will be hearing more from the women with instruments of bronze.