Two years ago, something happened in Malaysian theatre: students from the Taylor’s College, presented to full houses a play, Kecoh, which was witty, completely relevant to young people with issues ranging from to sex to politics, and completely open when discussing these topics. Many of these young performers were to be seen again in Amir Muhammad’s Lips to Lips. Most of them went off to study abroad, but they came back in July last year to stage another refreshing, stimulating play: Lebih Kecoh. They’re back again this week, with Stadium.
They answered collectively a few questions:
What progression will we see in Stadium compared to your last play? In the themes, the roles of everyone, the form.
Stadium will see Akshen develop the issues (young Malaysians and a sense of national identity, ethnicity, etc.) showcased in Lebih Kecoh, as well as the themes of migration and independence. The performance will be presented in an eclectic mix of styles (comedy, slam poetry, biographical stories, songs, Chinese shigu drumming, etc.)
Like Lebih Kecoh last year, the five performers (Fahmi Fadzil, Gabrielle Low, Joannou Ng, Kubhaer T. Jethwani and Mark Teh) play a wide variety of roles; from pontianaks to monkeys to freedom fighters. However, this year, there are four main characters who are undertaking a similar journey: a sepoy (mercenary soldier), an illegal immigrant/political refugee, a maid and a student leaving Malaysia.
How long did you have to rehearse (you all came from different places, didn’t you?).
Akshen was invited to participate in the Contacting the World Youth Theatre Festival as part of CULTURESHOCK, the 2002 Manchester Commonwealth Games Cultural Festival.
This project has been discussed and developed over three countries (Malaysia, UK and USA) for the past six months as most Akshen members are studying overseas. This resulted in a challenging process starting with e-mails and phone calls across the globe, and ending in an intense rehearsal span of about five weeks when everyone finally met in Kuala Lumpur.
How were the scripts written? Was there one person behind them, or were they a group effort?
Akshen work collaboratively and democratically – everyone from the performers to the director (Kitrhona Ramday) of Stadium were involved in the conceptualization and writing of the play. The work emerges from intense rehearsal sessions, long winded discussions, arguments, cat fights, bickering and blood on the dance floor.
What audience is your play for?
Our past two shows attracted a wide audience. And because we are committed to creating work that is original and socially conscious, many Malaysians are able to identify with the issues. But closest to us are issues concerning Malaysian youth, a territory seldom explored, so there is a definite youth contingent.
What is everyone in the team doing now, and where?
Six of us are currently in university overseas (five in the US, one in Scotland), while the rest are actively involved, in the Malaysian arts scene.
Anything else you want to add?
Due to members being all over the world, Akshen only gets together to perform once a year during the May-July period. Come and support Malaysian youth!
First Published: 26.06.2002 on Kakiseni