Sunday June 14, 2009
Going Cuckoo over crime
By ANDREW SIA
An artistic collaboration between Malaysia and Singapore delves into crime, violence ... and perhaps some deeper issues.
WHEN theatre people from Malaysia and Singapore got together recently to create their next play, what theme did they agree on? The third bridge? Water supply?
No, they chose to collectively devise a play about crime and violence.
Cuckoo Birds, a collaboration between our Five Arts Centre and the republic’s Cake Theatrical Productions promises a bitter-sweet, serious-yet-comical look at all things criminal.
Jo Kukathas “When we were doing discussions, practically everybody from Five Arts had personal experiences with crime, including bag snatchings, house break-ins and even having their car windows smashed at traffic light robberies,” recounts the director, Natalie Hennedige. She is the artistic director of Cake Theatrical Productions, who is best known for her play, Temple (staged in Singapore last year).
Yet, these kinds of violent crime may merely be the tip of the iceberg.
“We also want to delve beneath the surface and examine other kinds of violence, such as violence in the wielding of power, violence in extreme fervour and so on,” she adds.
Yet this very serious topic will have cutesy ballerina costumes, saccharine smiles and other comic-absurd aspects.
“The play is done in a series of distinct episodes,” says Hennedige. “For instance, there is a silly story of ‘desperate housewives’ trapped in a house with an intruder. Or a maid who strikes back at her employer by turning into a pontianak! It will be a roller coaster, comical then deadly serious and then, boom! We get a song and dance.”
Natalie Hennedige Veteran Malaysian theatre actress and director Jo Kukathas (famous for her Instant Cafe Theatre socio-political satires) says that she is a “great believer” in dealing with difficult things by showing the darkly comic side.
“Don’t be fooled by the frothiness of the costumes and wigs, nothing is black or white, it’s all colour,” she smiles.
Hennedige comments, “The audience laughs and thinks everything is fine and then violence just comes out and strikes them in the face.”
“Violence is like that,” chips in Kukathas. “I remember how I was so happy after the (March 2008) elections, walking on air in Bangsar (KL), and thinking, ‘oh the country feels different’, and then suddenly two men on a motorbike grabbed my handbag.”
Her fellow stage-mate (and theatre veteran) Anne James adds, “Crime happens everywhere and to everyone. It’s the ‘great equaliser’ unless you are from the upper class with drivers to shield you.”
The last time Kukathas appeared on stage together with James was 15 years ago in The Cord (directed by the late Krishen Jit). In the last three years, Kukathas has directed James twice as an actress in Hero and the multi-lingual Brea king Ji poh Ka si Pe cah.
Anne James “It’s much more fun acting than directing,” says Kukathas. “A Thai woman told me how directing makes her old while acting makes her young. I think it’s true, you have to jaga (look after) so many aspects while directing. While I enjoy directing, it’s very liberating to be on the other side and play it a different way.”
“And in this play we play a lot!” adds James. “It’s fun, like being kids again, to do so many stories and characters.”
The frolic is reflected in the play’s title too: Cuckoo Birds.
Hennedige laughs, “A friend was walking about and for no apparent reason, some men got out and whacked him. You know those old cartoons where there are little birds flying around the head after you get hit?”
This quirky show will be set in a huge “plastic container”.
Hennedige says, “That symbolises the safety within spaces, such as domestic violence, or even our own mental space. How safe are we in our beliefs?”
And as clothes and shoes will be flung about the stage, she adds that the plastic container will also protect the audience!
How do the Singaporeans in the show feel about this topic of (Malaysian) crime?
“Be honest,” Kukathas tells them.
Five Arts Centre’s Cuckoo Birds will take a zany yet deadly serious look at crime and violence. The cast (from left): Anne James, Elaine Pedley, Jo Kukathas and Mohd Fared Jainal. Cast member Mohd Fared Jainal responds, “It’s quite surprising. Our nearest neighbour is Johor and we hear many stories of such crimes, but I personally didn’t know that it was also happening in other states and KL. But it still doesn’t stop Singaporeans from going to Johor to shop!”
When this writer recalls the poster he had seen in Singapore “Low Crime does not mean No Crime”, everybody bursts out laughing.
“I love that poster,” chuckles Hennedige, “They have to remind you (in Singapore) just to be on guard.”
“For me KL is hip and happening, people are more cool, more out there having fun,” she adds. “But hearing about all this it makes me want to be more careful. Crime is real to them (the Malaysian cast members).”
“There’s the fear of being a woman (in Malaysia),” chips in James.
“A Malaysian friend was sitting down in Bangkok with a Thai and a Filipino and everybody just put their stuff on the table,” recalls James. “Then my friend told them, no, no you should watch your bag and handphone. The Thai and Filipino said it was normal for them to do that. Why do they feel secure in their countries, ones which we perceive to be more crime ridden? They ask, ‘How do you live like that in KL, constantly having your bag on your lap, feeling so insecure in your own homes?’ ”
Kukathas thinks that the root causes are the social (including racial) divides in Malaysia.
“It’s always (fear of) the other (side). We are brought up to be distrustful, people are always out to get you, your things, your quotas...”
Everybody agrees that artistic collaboration between Malaysia and Singapore has been beneficial to both sides and should be improved.
“Artists are better than governments at co-operation,” says Kukathas.
While this is a joint project between Five Arts and Cake, the Singaporean theatre company is “sponsoring” certain costs.
Hennedige explains that her theatre company receives an annual grant from the Singapore National Arts Council, and there is the further possibility of extra funding to take Cuckoo Birds to Singapore.
“It would be great for Singaporeans to enjoy the acting of Jo, Anne and Elaine (Pedley), and the Five Arts spirit of experimentation.”
However, on the Malaysian side, Five Arts receives little and sporadic funding from our Ministry of Culture and Arts.
Kukathas says, “Once in a while, we’re lucky to get a bit of money, but overall it feels like a lottery. So it’s hard to plan ahead. Whereas Singapore has been able to work (on their arts) because they have an transparent annual grant system.”
She remembers her experience of staging the ground-breaking show Breaking Ji Poh Ka Si Pe Cah, a multi-lingual show (in English, Malay and various Chinese dialects).
“When we staged it in Singapore and Japan, we got funding from the Singaporean and Japanese (theatre) authorities but when we staged it in KL, we applied for but got no support from Malaysia,” says Kukathas.
“I am very envious of the arts funding system in Singapore, whereas over here, if got cable, then can-lah. But the cable system is not good for the arts.”
June Tan, the show’s co-producer, says funding problems are just a symptom.
“We need to develop an arts policy for the arts industry that includes funding, venue sponsorship, and even arts careers.”
Kukathas notes that many graduates from Aswara, Malaysia’s National Arts and Heritage Academy, are very talented but after graduating, they are “lost” and don’t know what to do. “I get emails from people who want to work for me. I would love to, but I have no funding to pay them.”
Both James and Kukathas name a list of Malaysian artists (including Huzir Sulaiman, Sean Ghazi and Arif Waran) who have already left the country, with some going to Singapore.
Anne says, “Singapore has invested in its growing arts industry which gives employment. Now, if Malaysia does not tend to its own sheep, people will go and find jobs in Singapore or elsewhere.”
“My money and your money goes into training people and after that, we lose our best minds, not only in the arts but also in other fields. It’s a huge loss economically and intellectually. We cannot afford this or we’ll end up with mediocrity.”
So ... perhaps this artistic collaboration between Malaysia and Singapore does raise some deeper issues beyond crime and violence after all.
‘Cuckoo Birds’ will be staged from June 18 to 21 at The Annexe, Central Market, Jalan Hang Kasturi, Kuala Lumpur.
Entry is by donation of RM20 (adults) and RM10 (students and senior citizens).
‘Cuckoo Birds’ is part of the 25th anniversary celebrations of Five Arts Centre. Upcoming shows include the Conference of the Birds, an ‘electronic opera’ directed by Chee Sek Thim (July); Wayang Cahaya, an experimental ‘urban’ wayang kulit by Fahmi Fadzil (August) and a mass gotong-royong to relocate a Malay kampung house by filmmaker Liew Seng Tat (October). For details, check www.fiveartscentre.org
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