Chua Sue-Ann Jan 16, 08 5:11pm
Kuala Lumpur Performing Arts Centre's (KLPac) The Platform kicks off another exciting year for the Malaysian art scene!
The Platform, an open-mic session for theatre, gives centre stage to new talent. Performers have full creative control over their work making this a truly showcase of raw, unseen work. Established performers are also welcomed to toy with new ideas in this space provided they venture outside their comfort zone.
The Platform is the brainchild of director Gavin Yap who organised similar sessions with some friends during his university days in London."There are some brilliant (works), some not so brilliant but it doesn't matter. At a basic level, you just appreciate that someone is sharing," said Yap.
The Platform is a chance for new talent to perform their work, experiment and obtain feedback, said Yap at this year's first session last Monday.
"This fits perfectly with what we're trying to do here (at KLPac) - nurturing writers and performers," said Joe Hasham KLPac's artistic director.
The first session of 2008 showcased three spectacular, never before seen performances: Painted Faces, WoffiCe and Pity the Black who Pities the Green.
Painted Faces: The first performance of the night, Painted Faces, was written and performed by 19 year-old Shangari Subramaniam.
The witty monologue tells of a woman's dilemma when her family and new husband expects her to leave her successful law career to be a housewife.
"Housewife? What a term! It's like I'm married to the house," she laments amidst thunderous laughter from the audience.
She remains adamant about keeping her job after marriage.
"I will not give in."
But she did and six years later she still wears make up at home "for a reason."
Her once-charming husband slowly reveals his darker side until a confrontation where Shangari's emotionally-charged monologue explodes into a confronting one-woman performance of domestic abuse.
The stunning performance ends quite simply, "There's a good reason I still wear makeup."
"This is a middle class example of domestic violence. It's not just the poor. Its around us," explained Shangari during the post-performance Q&A session.
Shangari, who has been involved in stage productions in high school, promises "You'll be seeing more of me."
WoffiCe: The second performance of the night was quite surprising.
At such talent showcases, one typically expects to see young, eager talents. Imagine my surprise when two fifty-something-year-old men got up on stage to perform. Preconceived notions corrected. Expect the unexpected at The Platform.
WoffiCe, performed by John Lim and Lim Yoke Kiaw is a very short piece about an employee stealing time off work.
John sits in a toilet cubicle and reads the papers. He also chats on the phone to his wife nonchalantly about how laid-back his job is and passes unflattering comments about his "son of a gun" boss.
Needless to say, his boss is waiting outside the toilet and overhears everything.
"You are fired."
The story behind the culmination of the performance, in a way, makes up for the brevity and the predictability of the piece.
Lim, a retired teacher, wrote this entry when he saw The Platform's call for submissions in the newspapers. He submitted it without reading the rules, later discovering that the script needed to be performed.
A day before the scheduled performance, Lim met John by chance and decided that he had found his actor. What if they had not met?
"I think I would have dragged my son. I'm not so interested in acting," Lim said.
Pity the Black who pities the Green: This abstract play is brought to life by Tan Zi Hao and Lau Mengq Yek who exudes a strong stage presence.
Written by 18 year-old Tan Zi Hao, the title of the play alone invokes curiosity.
It starts off with a simple assertion - Tan's character, Joe, only likes red apples. He rejects a gift of a green apple which sends Lau's character, Hao, into a frenzy to please Joe.
Joe hates green apples. Maybe I can paint it red, thinks Hao. But there is no red paint. Will Joe mind an apple painted a shade of brownish red?
Hao soon decides that brownish red will make a more natural shade and proceeds to bleed himself. Lau delivered a powerful self-mutilation scene with his magnificent performance and clever use of props.
Judging from audience responses, this moody play was a clear favourite.
This beautifully-written, almost poetic play is one of the four pieces Tan submitted to The Platform. He explained that this is not a homoerotic piece but sought to express observations on human nature through the use of colours and apples. This is a portrayal of the struggle between pain and love as well as the delicate tension between greed for love and restraint.
He added that The Platform was just what he needed to showcase his work and gain exposure.
Queens: Audiences were also treated to a short play written by prolific playwright Mark Beau de Silva. Seasoned performers Johann Lim and Kelvin Wong joined de Silva in Queens, a humourous play about gay men in Kuala Lumpur.
With minimal props of a table and a chair, the performers brilliant voice acting brings to life scenes in a shopping mall and sauna.
The dialogues pack quite a punch, with a delightful balance of hilarious remarks and thought-provoking questions. A host of gay issues are briefly mentioned - from the queer community's dance obsession to potato queens, finding love, massage parlours and why one might call a stranger 'sayang (darling).'
These established talents were invited by KLPac to perform and before night ended, Hasham announced that KLPac had asked de Silva to develop Queens into a full-length play.
This playful performance is definitely something to watch out for!
Year end Platform
The greater motivation, besides the opportunity to showcase their work, is The Platform's year-end production. Every month, Hasham and Yap will select one piece to collaborate on that project. The chosen performance will be announced at next month's showcase.
Although only twelve pieces in total will be selected, Hasham does not discount the possibility of nurturing new talent for purposes other than the year end project.
Yap reminded that "This is not a competition. Just focus on sharing (your) pieces and just enjoying each other's work."
According to Hasham, decisions will be based on the potential of a performance either in terms of performance, writing, directing and the concept behind a script. He added that audience responses will also be taken into account.
"It does not have to be brilliant but it is important that you think it has potential," said Hasham.
Come along on the first Monday of the month all year, 8.30pm, IndiCine Level 2, KLPac. Admission is free.
Theatre aficionados and supporters made the audience, whose reactions made the Platform a night of humble splendour.