Tuesday August 14, 2007
Merdeka and more
By SARAS MANICKAM
The production of Tunku the Musical is marvellously extravagant and the cast’s enthusiasm is a pleasure to watch.
Tunku the Musical opens with a flourish. The overture is lavish with the entire cast on stage, singing with shining hope on their faces. The audience is swept along with euphoria. A feel-good sensation is thus factored in, with the right buttons pressed for maximum nostalgia for the good old days.
The emotions are further enhanced during Laksa, a delightful scene in which Ali and Cik Tan, both hawkers, argue about who first created this quintessentially Malaysian dish. Was it the Malays? Or was it the Chinese? Both hold on to their cherished notions, but there is no real acrimony. The argument appears almost good-natured.
Nevertheless, the seeds of discord are sown almost imperceptibly. Of course, politicians like Syed, Tunku’s aide, manipulates to create and maintain an ever deepening chasm.
“Are you a racist?” asks Paul, a world-weary journalist who records the shifting patterns in the new country. The question is directed at Syed, a seasoned politician who deflects it by asking, “What kind of question is that?” I wish he had answered, “What about you? Are you one?”
For that was the basic problem with the story. Very simplistic to begin with, it was riddled with stereotyped presumptions and almost no character development.
Syed is manipulative, devious, racist and supremely concerned with only Malay domination and control of the country. But wait, he’s got a mistress and yes, she’s Chinese.
This is no lucre-driven mistress – this lady weeps in shame at having to “be hidden from the light of the day”. Oh come on. This man is a politician. He is openly racist and anti-Chinese. What’s she doing then, with him? And what’s she got to weep about when he denies ever knowing her, in the biblical sense or otherwise?
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Touching: Fauzia (Doreen tang) is dead, murdered by Malay rioters. As Ali (Syuk Ibrahim) and Zamil Idris despair, little do they know that Malik will soon die at the hands of a Chinese mob. – Pictures courtesy of Kelab Shashin Fotografi KL. |
In the May 13 riots, girl is raped and killed by Malay rioters; the boy dies at the hands of Chinese rioters. Politician father anguishes over his son’s death. Does he change? We don’t know.
Meanwhile, the Indians are somewhere in the background. We see them sometimes.
When Singapore separates from Malaysia, we see the antagonistic reaction of the politician but never the feelings of the Chinese in Malaysia. It bothers, this one-sided version of events.
Paul, the journalist, played by Douglas Lim, is a recorder of the events; there are times when this jaded newspaperman appears almost smug and gleeful at the unfolding events. Sure, he expresses shock and despair as the situation spirals out of control. Nevertheless, there is something patronising in his character that prevents sympathy.
Plot aside, the production of Tunku the Musical is marvellously extravagant. Attention to direction, costumes, choreography, stage sets, music arrangement and the singing is detailed and highly professional.
The second half moves along with heightened tension. The riot scenes are very well executed. The rape and killing of Fauzia is the most painful and horrifying scene in the play.
Finally, after ages of being sweet and weepy, Fauzia, played by Doreen Tang comes into her own. She speaks no words; none are necessary. The helplessness is etched on her face and her actions. Like a limp rag doll, she is attacked, thrown about, mauled, raped and murdered. It is her best performance in the play.
Evelyn Toh, who plays Cik Tan, and Maria Yasmin, as Maria the mistress, uplift with their amazing voices. Their singing is effortless and technically strong. Toh’s sniffy Hokkien hawker and Maria’s weepy mistress add commendable facets to a storyline sadly lacking in this category.
The actors were very well cast. Tony Eusoff as Syed the puppeteer-politician is made for the role. So is Syuk Ibrahim as Ali, the simple, basically good-hearted hawker.
Tony plays the one-dimensional Syed for all he is worth, but after a while, stereotyped Syed becomes predictable in his responses.
Poor Zamil Idris as Malik, Fauzia’s lover, has very little to work on so he does a fairly creditable job as a geeky, love-struck adolescent, desperately hiding his love affair from his father.
Special mention must be made of the ensemble. They fill the stage with energy and enthusiasm. It was a pleasure to watch them.
Tunku never appears in person. Nevertheless, his is the principal role in the musical, thanks to the huge screens on stage, projecting images of him and a Malaya now long gone.
The spirit of genuine bonhomie emanates from him, still vivid and still strong, though he is long gone.
One of the loveliest images screened is of our first Premier, shaking and moving to music, smiling that big-hearted generous smile and so obviously enjoying himself.
He, as well as the scenes from old Malay movies on the screens, capture the essence of what we have lost. I, for one, felt an almost palpable anguish and deep sense of loss.
Interestingly, the old movie shots are scene stealers. During a love scene between Fauzia and politician’s son, the images on the screens took over the stage entirely. Utterly tender and moving, they were far more magnetic than the lovers on stage.
Tunku the Musical ends on yet another feel-good factor: one day, we will all be blind – colour blind. Go catch the musical. Cardboard characters aside, it captures that flavour of innocence lost and, hopefully, regained.
Tunku The Musical is on at Pentas 1 of the Kuala Lumpur Performing Arts Centre in Sentul, KL, until Sept 1. Showtime is 8.30pm daily except Sundays (3pm). Tickets are priced at RM80, RM60 and RM40 (students, the disabled and senior citizens). For tickets or more information, call KLPac (03-40479000 or The Actors Studio (03-20949400) or visit klpac.com.
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