LakiBini 2.0 Review

10411018_783087115085396_7800618507912158837_n(Graphics poster courtesy of KreatiV OutBox)

I seldom watch theatre plays. I think if I can measure the rate I watch theatre shows, I can safely say that it is perhaps a once-a-year thingy for me. In fact I did not have any plans whatsoever to post a review on this show that I attended on 3rd October 2014 at the Black Box Studio of Goodman Arts Centre. Longtime readers of this blog would note how uncomfortable I am at doing reviews of this nature and that I am perhaps the worst at reviewing theatre plays for the fact that I do not have any acting or theatre background to begin with. At least when I review music performances, shows or concerts, I have an inkling of what I am typing about as I have some experience being a keen observer, stagehand, volunteer and even a performer at some point in my life. This entry is published since I was kindly approached by the director and playwright himself, Izad Omar, to do one as there was not much post-show publicity nor reviews other than the one that was published on Berita Harian a fortnight ago.

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I heard about this show, produced by local theatre company KreatiV OutBox, back in April 2014 when I was covering the TeRaSeh 2.0 competition, during the week that Den Sabari, one of the show’s main casts, and his wife Huda Ali were the studio guests at Warna 94.2FM during the post-show interview with the “Malam 2 Mat” hosts, Hafeez Glamour and Dyn Norahim. Since I count Den as one of my good friends, I made the effort to block the dates of the play six months in advance so I could catch it when the time comes. Den admitted during the months leading up to the show, how excited, yet nervous he was at the thought of making his theatre comeback after more than five years away from the live stage. A lot of effort, practices and rehearsals were done just to get things right and there were times Den had to sacrifice his social time to play football with our Seniman FC team just for this play.

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For a first-timer on a live stage, I thought Ainon Talib did extremely well juggling the different emotions that her character had to exude and display. One moment she was laughing and cracking jokes, the next she was angry and subsequently shedding tears. I have so much respect for performers who could switch emotions with a snap of the fingers and Ainon‘s character, Ira, demanded her to do just that. I strongly believe this experience would empower her and improve on her acting on television, though of course there is always room for improvement on stage. Den Sabari, who played Zali on the other hand, had a bit of nervousness in him, but I kind of attributed it to pressure knowing a few of his close friends were seated in the audience. And of course, there is that issue of rustiness of not performing a stage play in years, but personally I felt it wasn’t that glaring to the common folk like myself. Maybe theatre experts who caught the play could relate better.

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However, the star of the show to me had to be Fariz Najed who played the effeminate BFF to Ainon‘s character. I felt his role, even though it was a supporting one, was the most crucial and important, in that he helped to link and added balance to the two main casts, the glue that held everything together. He was so likeable as the angsty best friend who not only found himself ostracised by his own family but also always at odds with the character played by Den Sabari himself. In a way, his role demanded the audience to understand from his perspective. His role and problems faced are common amongst men who are considered soft or effeminate, as they are often looked down by the community and seek acceptance for who they are. Fariz aced his role and gave us plenty of food for thought with his acting delivery.

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As a normal-paying audience, not too concerned with technicalities of theatre play, I was there to be entertained. What I got from that 90-minutes show was not just mere entertainment, I left the Black Box Studio with a gamut of emotions from what I had witnessed throughout the play. The show highlighted common problems faced by many married couples, the real dilemmas faced as a young couple right down to their ageing years. What I like most about the play was, it was done in a light-hearted manner, without being too deep with the issues being discussed and some of the issues raised strike a chord with what we sometimes face in the course of our marriage. There were also several digs being made towards social / cultural practices which might contradict our Islamic beliefs without being too direct nor overly critical. For theatre novices like myself, this was an enjoyable play and I certainly did not feel the time passing by. The downside and only complaint I might have is how cold the venue was, even after two of the air-con units had been turned off, from what I understand from Izad himself. Other than that it was a very good production by KreatiV OutBox. Kudos!!!

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(All photographs courtesy of KreatiV OutBox)

“Bendahara – A Betrayal” Review…

I did say in my promo entry a week ago that I am uncomfortable to review theatre plays and productions for the fact that I do not have a theatre background nor understand most of the technicalities to dispense my thoughts. But as I was typing my thank yous and gratitude to the main people at Sri Warisan Som Said Performing Arts Ltd, notably Madam Som Said and Marina Yusoff, for an extremely enjoyable experience last night, it dawned on me that not only should the main people be reading my thoughts, but the whole production team as well as the performers who numbered more than 117 should also be reading this on a more public platform, since I am not connected to everyone on Facebook due to my personal policy of being connected to only people I have met before in person. Hence this entry.

This rather short entry is also to share my personal experience as a watching audience, rather than as an astute observer or critic. Also for the fact that I want to surprise Marina and the production team, since they surprised me last night with a heartwarming gesture (more on that in a bit). Last night was one of the rare occasions that I did not bring my trusty DSLR nor video camera to catch the moments, but I think it is perfectly alright not to include photographs nor video clips in this entry, as I do not want to act as the proverbial spoiler for those who will be watching the final two shows later today. Anyway for those who are wondering, tickets are still available and can be purchased at the Kallang Theatre entrance. Just note that the two shows today are at 3pm and 8pm.

From a watching audience’s perspective, the missus and I enjoyed the whole production very much, and this is not because of what happened towards the end (again more on that in a bit). For me personally, I was blown away by the digital backdrop and various stage props which made the kampung and beach setting come alive. Each character was responsible in bringing out their respective roles and played with our emotions, in a good way literally so to speak. We felt tickled by the actions of Amza (Hamzah Adon), we felt anger by the dastardly acts of Memanda Menteri (Fauzie Laily), we felt the sadness and anxiety of the kampung folk towards the end. While the tears welled in my eyes towards the end, I noticed many others in the audience as well as my other half sniffing and dabbing their eyes, thanks to the excellent combination of the script, the actions as well as the soundtrack and its meaningful lyrics.

Like what I told Marina via Facebook, everything that was promised during the media conference three weeks ago was delivered and executed, even going beyond my wildest imaginations of what the surprises would be. But during the media conference itself, something in me detected that Bollywood elements would be injected into this production, even though it was not mentioned by Music Director, Zubir Abdullah. I was pleasantly surprised that my gut feelings came true last night. What astounded me in that particular segment was Marina herself. Put her in any costume and she will bring the character to life. She can be a kampung girl, a princess, a palace maid and you can be sure that she will look the part. Likewise during the short Bollywood segment, I saw a Hindi actress on stage.

There were also other twists in store like the injection of rap and hip-hop into the mix. Traditionalists might frown upon that particular segment since it was done with the performers wearing traditional royal costumes. But I thought it was a nice twist, a fresh element breathing life into royal subjects who are normally known as uptight and serious people at the mercy of the King or Sultan‘s commands. Though I have been waxing lyrical towards the production, I did detect a minor shortcoming. At times the characters’ voices were inaudible or drowned by the background music. I think that can be taken aboard and improved upon for the final two shows. Still, the minor problem was not enough to make me detract from saying it was an excellent show. If you ask me, given the injection of support and sponsors, it would be good if this production is staged abroad and adding more colourful elements. I’m hoping Malaysia‘s Istana Budaya would invite the production over for starters.

And finally to that pleasant surprise at the end of the show. As a small-time blogger, not paid for what I do as a hobby and mere passion to report and promote stuff on our local Malay entertainment scene, a mere mention of my moniker on the public address system at the end, made the heart flutter in excitement, to go along with the list of social and mainstream media mentioned for their respective coverage and promotional works. To be thanked in print on the programme book, made it even more worthwhile of the work l’ve done all these years. This is a definite first for me and one that I am very much thankful and feel honoured for. It gives me the impetus and inspiration to continue, as doing what I do on my own does not reward me in monetary terms. There were times too that I felt it wasn’t worth it, no thanks to several bad experiences. It has however given me satisfaction in making others smile and feel encouraged. Above all, it has introduced me to talented and inspirational individuals as well as groups. Thank you Sri Warisan!!! This means so much to me…

P.S. I said this was a short entry but knowing long-winded me, six paragraphs is kinda long, don’t you think??? 😛

“Bendahara – A Betrayal” Promo…

I purposely post this entry about a week before the musical play goes live at the Kallang Theatre so as to generate that hype even further, to go along with the ones some of you might have read in Berita Harian last week, or / and seen the short capsule on Mediacorp Suria. For the first time ever, I was invited to cover a media conference-cum-preview, involving one of our local Malay performing arts group’s latest offering “Bendahara – A Betrayal“. And this is not any group I’m talking about. It is the well-respected Sri Warisan Som Said Performing Arts group, no stranger to most of us and a brand name which is synonymous in upholding traditional Malay culture and heritage, in the form of dance and theatre.

It has to be said that I seldom post something pertaining to our local arts scene. It is not that I am not interested, but I seldom have the time and opportunity to watch and support such shows. At the same time, I feel at ease giving them the promo rather than reviewing their show. This is because, hand to heart, I am not a professional nor have any experience in the scene to understand the technicalities and background that some other known writers might have. Hence, this blog seldom features reviews or talk about the local performing arts scene. I do not want to come across as a know-all when my knowledge of the scene is practically zero to begin with. I wouldn’t mind watching if I have the opportunity, but I won’t feel comfortable having to review them afterwards. Like Fiza O‘s recent event which I reported in the last entry, I felt obliged to attend this media conference-cum-preview session of Sri Warisan‘s latest production, thanks to a personal invite I received from Marina Yusoff, the musical play’s Production Director.

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Bendahara – A Betrayal“, is staged based on events that happened on these shores, most notably when Singapore was “attacked” by swordfish or otherwise known in our Malay folklore as “Singapura Dilanggar Todak“. Till today, debates still rage on whether the incident did really happened or whether it is just a mythical folklore as a form of entertainment and storytelling for children alike. However, where the original story centred upon the character of Hang Nadim, the boy who was smart enough to outwit the swordfish but in the end, fell prey to the jealousy of those working in the royal palace, this play centres upon the character of Aman a.k.a. Bendahara (played by Hatta Said), the Chief Minister who was tasked to take away Hang Nadim, who also happens to be his step-brother. I will not play the spoiler by telling you how the story would end, as we were not told about it during the preview itself, so your guess is as good as mine.

From the preview, I was very much moved by the acting talents of Asnida Daud, who is making her theatre return in this production. She plays the character “Mak Limah“, the mother of both Aman and Hang Nadim. The scene where Tok Penghulu was to be arrested by Memanda Menteri and the royal guards was a particularly moving and compelling one, so much so that I had tears welling in my eyes when I watched it live, and again when I was compiling video highlights of the preview-cum-media conference. She is that good, cos she executed the right combinations in terms of physical movements, emotive facial and voice expressions at the exact moments. I felt her character come alive, moreso since she shed real tears too during that scene. Other characters to look out for are Memanda Menteri, the dual persona being played by Fauzie Laily, as well as Amza (Hamzah Adon), who provides the light-hearted moments in the play. And of course the main character himself.

This production is special for the fact that Sri Warisan reaches out to the younger generation by including students from Yuying Secondary School, Bedok Green Secondary School and Damai Secondary School. Also for the opportunity given to some of their performers, who have been with them for about five years, to come up with a choreography item for various scenes in the play. They have also invited Malaysia‘s Akademi Seni Budaya & Warisan Kebangsaan (ASWARA) Dancers to be a part of the play. Along with the fusion of silat choreography by Pesilat Pusaka Karuhun and Pesilat Tapak Suci Muhammadiyah, the play promises to be a spectacle for viewers, with elements of Disney and Hollywood incorporated into the mix, as was testified by Music Director, Zubir Abdullah, one of my favourite local singers.

Less than a week left to the show, I am very excited about this production as the preview promised a play that we can be proud of, if it is to be staged abroad as an advertisement on our culture and heritage, the marriage between dance and theatre. I strongly recommend that you get your tickets soon as they are selling fast at $28 each. The show will be staged at Kallang Theatre on 30th and 31st March 2012 at 8pm, with an added matinee show at 3pm on Saturday. There was a small birthday celebration afterwards for Marina and Huda Rahim, the head choreographer of the production, who share the same birthday (9th March) and those who attended got to sample “Pulut Kuning” and a variety of other traditional Malay food and kuehs. Thank you once again to Marina Yusoff and the good people at Sri Warisan Som Said Performing Arts Ltd. for the kind invitation, hospitality and good food served that night. I hope your upcoming production will be a resounding success!!!

Merah Pawana Promo…

 

 

Teater Ekamatra presents

Merah Pawana

Performed in Malay without Subtitles

Fort Canning Gate

18th, 19th, 20th & 21st November 2010, 8pm

$45 / $35 (Student Concession)

Group Promotions : $140 / $120 (Student Concession) for 4 tickets

Tickets from www.onetickethub.com or AXS machines.

Email ticketing@ekamatra.org.sg for group bookings and enquiries.

 

This is a story of strangers coming to one’s land; of the changes, beneficial and tumultuous that come from this; and whose one is amidst this.

The land of Berantah is divided between followers of a native spiritual guru and a foreign faith. By pitting wealth against tradition, Berantah becomes a land devoid of peace. Dilemmas of religion and practice soon become confused with that of money and politics.

Berantah finds itself to be the centre of the struggle for dominance between the old and the new. One young boy, Merah, urges his people to reclaim their identity. At the same time, they live in fear of a prophesized disaster, a pawana that would sweep the land of Berantah. Will this pawana ruin and cleanse? And what will stand after?

To be held at the historic Fort Gate, this parable of the cultural and religious colonization of two tribes, invites the Malay community to re-look their historical and cultural position. This grand scale production that will make use of traditional Malay dance, music and stories even as it speaks of the contemporary society, aims to convert non-theatre goers into attending a family-friendly, community event.

MERAH PAWANA reaffirms the value of art and theatre for the community, and the importance of the community for art and theatre.

 

Written by Rafaat Hamzah Directed by Najib Soiman

Music Direction by Azrin Abdullah Choreography by Norisham Osman

Dramaturgy by Zizi Azah Abdul Majid

Live Music by Gerentak Network and Orkestar Trio

Accompanied by Sriwana dancers

 

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MERAH PAWANA BITES

Brotherhood of Big Guns

Rafaat Hamzah, personality and rebel poet; Najib Soiman, theatre activist; Azrin Abdullah, today’s traditional music man

Three veteran shakers of the Malay arts scene make an explosive recipe for either a collective output or competing inputs. Each having multiple expertise and wide-reaching visions, how would a novel script, big directions and authentic sounds come together?

Rafaat is a two-time award winning actor in SURIA’s “Pesta Perdana” and a regular judge for its talent competition “Anugerah Skrin”. True to his reputation, Rafaat shone in the lead role in “Rock Opera… Kisah seorang seniman” (2005, Esplanade Concert Hall), and as Jebat in “Wangi Jadi Saksi” (2007, Esplanade Theatre Studio), both directly addressing the Malay culture and history. Rafaat makes waves and noise not only for himself. His verses, collected in the anthology “Yang Bilang” (2007), are ripe with socio-political strife. He also lends his pen to emerging artistes, creating a new stable of credible Singapore Malay music. His talent management and production company, COKELAT, exists by the need to showcase current and contributing Malay artistes, having twice organised the “Festival Melayu Ada” event. Rafaat’s gripes are many and he writes MERAH PAWANA in continuing his concerns with the awareness of Malay identity among the Malay community.

Najib is a top-class actor, active in both Malay and English theatre, having won Best Actor at the 9th ST Life! Theatre Awards 2009. He has long had his hands in the dikir barat and traditional music scene, grabbing champion titles and recently forming his trusty band of musicians Gerentak Network. Najib’s flair for directing big-scale productions was apparent from the highly acclaimed “Gentarasa 2007: Titisan Cacamerba” where he worked with community talents to create professional theatre. His latest presentation, “Jiwo Jiro” (2010, M1 Singapore Fringe Festival), exploring marginalised people through marginal forms with a cast made up of students, had the press raving about his commitment to involve younger people in theatre-making. Always in the driver’s seat, Najib was the President of Teater Ekamatra from 2006-2007 and the Artistic Director of Panggung ARTS from 2008-2009. Najib is the very person to spearhead MERAH PAWANA.

Azrin Abdullah’s sounds, created with Sri Mahligai, is the mainstay used in traditional Malay dance in Singapore today. Azrin has thus collaborated with every professional, semi-professional or community Malay cultural group, working closely to compose, arrange, produce or engineer a variety of musical visions. His expertise now has him in demand for commercial albums and TV programmes as well. The People’s Association has identified Azrin as a valuable asset, thus bringing him to various overseas festivals. As the go-to for traditional Malay music in Singapore today, Azrin would not pass off the opportunity of influencing an influential work like MERAH PAWANA.

This collaboration has been years in waiting. Najib has long been trying to work together with whom he calls “two maestros”. MERAH PAWANA is the first time Najib is directing something he has not written himself, and the first time Rafaat is not directing his own writing. Rafaat is excited to see how different his work will turn out in Najib’s hands and how different Najib’s work will be with his influence. Will these maestros be able to handle themsleves and each other?

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Hatta’s Star

Hatta Said, having been in the industry since 1998, has slowly built his bases over the years only to explode into the fore everywhere in the last two years. If one has forgotten his boyband (Echoboys) and TV personality (IKON Suria) days, or even constant appearances in popular productions by TheatreWorks, ACTION Theatre, Toy Factory and WildRiCE (1998 through 2005), you cannot miss him now. These days he is a regular on TV and on stage, starring in Kopi Bujang (Suria) and Gerimis Di Hati (Suria); on Fried Rice Paradise The Musical (SRT), Fewling (Panggung Arts), Chestnuts Does Christmas (STAGES) and Nadirah (Teater Ekamatra). After MERAH PAWANA, which Hatta feels is an unprecedented offering in Malay theatre, Hatta is slated to appear in Charged, written by The Fingerplayer’s Chong Tze Chien and directed by Teater Ekamatra’s Zizi Azah. Judging by his drive, and growingly impressive arsenal of experience, Hatta is now unstoppable.

Oldies Overthrown

The combined forces of acclaimed industry names – Sani Hussin, Rizman Putra – is not enough to carry MERAH PAWANA through. MERAH PAWANA is completed in presenting fresh faces – Nadiah Mohamed and Faizal Abdullah. As rising names in the scene, we want to see them match up to the veterans. These are the artilleries of talents we bring to MERAH PAWANA.

Sani is a household name, with a Pesta Perdana win and numerous nominations under his belt. He is institutionally recognised bagging the NAC Overseas Theatre Award. Sani has had a long history directing productions for Teater Ekamatra and pushing our works. Now regarded as a mentor, as the recent SURIA’s Anugerah Skrin competition witnessed, Sani is well-placed to motivate the younger generation of up-and-coming actors and actresses.

Rizman’s cutting-edge work bagged him the President’s Young Talent Award with performance art traveling internationally. Active in the bigger English scene with CAKE Theatre, Rizman regularly returns to local Malay theatre, contributing to a train of Teater Ekamatra’s children’s programmes, in his dedication to affect and excite the scene. In Rizman’s view, “the new faces are a great bunch to work with, they are very energetic and committed, having a good level of discipline and earnestness in their approach.

In catching up with the elder two, Nadiah and Faizal have in just the last year been seen everywhere. Nadiah Mohamed, deemed the face of NAFA Theatre, has gained a little following for herself since her appearance in Cinta Ixora, Princess & JuruKamera 2 and the current Kopi Bujang on Suria Channel. She is also collecting stage experience and training with productions under Nanyang Academy of Fine Arts and Variasi Performing Arts Group.

Faizal has turned out to be the highlight player in productions with Panggung Arts, Young & Wild and Stages. Hungry for experience, Faizal has also made TV appearances on OKTO. MERAH PAWANA completes their year”s whirlwind. They are humbled to be working with the big guns now and are glad to finally arrive.

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Malay Music Movers

In presenting quality and reflecting progress, MERAH PAWANA wishes to catch and exhibit the real movers in the industry, before they move too fast for us.

Orkestar Trio sets out to explore the versatility and context of music in the Malay Archipelago in the modern world; to break the barriers between musical genres; and to share their voice. Orkestar Trio has performed Singapore-Malay traditional music beyond our shores and beyond the region, to China, Japan, Italy and through Java, to overwhelming response. Most recently they were invited to “Solo International Ethnic Music Festival” and “Yogyakarta Gamelan Festival”, adding to their list of international gigs. Despite their raving success beyond our shores, Orkestar Trio does not shy from going back to performing for the community. In the search of an authentic voice, MERAH PAWANA is right up their alley.

Norisham Osman – Creating New Wave Malay Dance Theatre

In Najib Soiman’s words, Sham is “the new Osman Hamid”. In fact, having trained under Osman Hamid, the name synonymous to Contemporary Malay Dance, for the past ten years, Sham has almost become his right-hand man. Now it is time for Sham to hold his own ground in a new teritorry known as theatre. Keeping his roots in dance, this LaSalle Arts Management student, is propelled to explore its multi-faceted function in theatre proper, not merely in theatrical dance. Is this revolution or evolution; and is there a difference? His first outing as choreographer was also entrusted to him by Najib Soiman who threw him a chorus of thirty odd student-performers to work with in Jiwo Jiro. MERAH PAWANA is his the biggest-scale project to date. He hopes to achieve Najib’s epic vision in this grand offering of music and dance.

Stars & Upstarts – Introducing MEREKA

MEREKA is the new youth wing of Teater Ekamatra with 14 hand-picked young individuals embarking on a year-long programme. MEREKA aims to ensure the continuity of Malay theatre by nurturing young enthusiasts into committed professionals, with extensive knowledge of theatre.

Part of the group led by Irfan Kasban makes the MERAH PAWANA chorus. Juggling rehearsals with the MEREKA training schedule attests to the commitment by our youths to learn and be immersed in the the scene. MERAH PAWANA provides a hands-on platform for the MEREKA group and other new faces to work with experienced and acclaimed names, further honing their skills. Teater Ekamatra is committed to creating such opportunities, seeing it as a vital part of developing the theatre industry.

Bukit Larangan – Malay History for the Malay Community

The venue pick for MERAH PAWANA is deliberate. Fort Canning houses the Iskandar Shah Shrine, believed by some locals in Singapore to be the burial site of Raja Iskandar Shah, the last of five kings to rule Singapore in the 14th century. The Malay chronicles state that the first King of Malays, Sri Tri Buana and his Chief Minister, Demang Lebar Daun were also buried at Bukit Larangan, the former name of Fort Canning. This site thus evokes histories of Malay royalty and ancestry. MERAH PAWANA hopes to recreate a sense of belonging by gathering the Malay community together in witnessing their stories played out with a grand visual and musical offering that is theatre.

The Ekamatra Circle – History & Growth

MERAH PAWANA manifests the full circle that Teater Ekamatra has come around. Since its founding in 1988 by Lut Ali, the company has been pushing the boundaries of theatre and language, to uphold both individual equality and cultural pluralism.

MERAH PAWANA revisits the scale and concerns of DHAVUSYA, also done at Fort Canning in 1998, directed by Khairudin Hori, then Teater Ekamatra’s Associate Director. Amidst the stripped down and minimalist character of our past works staged at The Substation Theatre and The Esplanade Recital Studio, we are embarking on more ambitious and embracing form to reconnect with a potential mass audience. Whilst maintaining the highest level of artistic integrity, this new approach by Teater Ekamatra ties in with the formation of our new working committee in September 2009 that includes fresh faces to create new synergies and revitalise the company. The cultural issues brought forth in MERAH PAWANA is also a reflection of Artistic Director Zizi Azah Abdul Majid’s plans to take Ekamatra on a season that will dig deep at the issue of the Malay identity.

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Production Team

Dramaturgy: Zizi Azah Abdul Majid

Playwright: Rafaat Haji Hamzah

Director: Najib Soiman (bijaN)

Music Director: Azrin Abdullah

Choreographer: Norisham Osman

Cast: Farah Ong, Norisman Mustafa, Faizal Abdullah, Muhammad Affan Noor, Hatta Said, Rizman Putra, Irfan Kasban, Sani Hussin, Nadiah Mohammad, Sulaiman Ismail, Nafisah Anwar, Syaiful Ariffin

Chorus: Amalina Shukor Khalid Supandi, Atika Marwan, Nur Amalina Juffri, Daeia Rahim, Nurul Asyikin, Farah Yasmine, Siti Zuraida Rahim, Ghazali Muzakir, Yazid Jalil, Habibah Mohckeram, Zhein Mu’adhib, Haizad Adam

Musicians: Alhafiz Jamat, Fauzi Basir, Hafiz Hamzah, Ismahairie Putra Ishak, Riduan Zalani, Ridwan Ramli

Lighting Designer: Zizi Azah Abdul Majid

Set Designer : Izmir Ickbal

Costume Designer : Azni Samdin

Production Manager: Norisham Osman

Stage Manager : Fezhah Maznan

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Company Profile

Teater Ekamatra is a non-profit theatre company that is dedicated to developing and producing socially relevant plays that reflect the contemporary Singaporean vernacular. Teater Ekamatra believes in integrating the arts, social services and the different cultures as a vehicle for entertainment, education, tolerance and affecting social change. The company believes that theatre must be seen as an integral part of Singapore’s artistic evolution. To renew itself, theatre must constantly reassess its role in society and address what role it may play in the future.

In existence since 1988, Teater Ekamatra is recognised for its dedication and commitment to developing and expanding definitions and forms of Malay Theatre, and is a recipient of the National Arts Council Annual Arts Grant. Teater Ekamatra does not define nor restrict Malay Theatre to performances in the Malay language, but seek to give voice and visibility to the Malay condition and experience with regards to contemporary local and global climate. Ultimately, Teater Ekamatra is about individual equality, cultural pluralism and artistic excellence.

Contact:

Fezhah Maznan

General Manager

Teater Ekamatra

Telok Ayer Performing Arts Centre

182 Cecil Street, #01-10, Singapore 069547

Tel: +65 6323 5443

Fax: +65 6323 6528

Hp: +65 9168 4158

Email: general@ekamatra.org.sg