Munchausen Melalui Proksi

//Penulisan ini mungkin mengandungi spoiler. Tapi sebab Malaysia tulis pasal teater, di mana kebarangkalian untuk anda dapat tonton semula selepas produksinya tamat amat rendah (tidak seperti filem atau drama tv), so, takyah nak anggap tu spoiler sangat la eh//

Munchausen Melalui Proksi

By BilBerkarya Production

Arahan Shah Irwan

Di Damansara Performing Arts Centre, 3-4 Ogos 2024

Verdict: Bestttttt sangatttttttttttttt

Kau kira berapa ‘t’ dalam ‘best’ dan ‘sangat’ tu, pastu darab 100. It was so great, kalau betul Malaysia nak exaggerate: it is perfect. Ini tergolong dalam show-show yang Malaysia tengok, and akan lambat nak move on. Congrats to the production team, congrats to the director. Terima kasih kerana menghidangkan satu persembahan, pementasan yang sangat baik. Malaysia menangis? Mana ada, takde nangis la. Tu sebab silau, mata auto berair (aderrr). 

Well. To those yang missed, siapa suruh miss? Malaysia dah warning seawal Julai kan about this show. You all ni pun. You all la yang rugi. Malaysia rugi jugak la, sebab tengok 2 out of 3 shows. Kalau Malaysia tahu, Malaysia tengok dari first show yang 3 Ogos malam. Tapi ok la, lepas tengok yang matinee on 4 Ogos, pastu datang rahmat untuk tengok yang malam 4 Ogos. Sebenarnya tak rare for Malaysia untuk tengok a show berkali-kali, cuma tengok the show juga.

So usually show-show yang baik, yang mcm bagi Malaysia, eh sayangnya lepas ni dah tak dapat atau susah nak tengok, so Malaysia mmg takkan ralat untuk tengok berkali-kali. Lantak la org nak cakap Malaysia takde life ke apa ke, well, mmg Malaysia takde life la sebenarnya. Guilty as charged. Sementara Malaysia belum ada better hobby or better social life, ini je la yang dapat Malaysia buat. 

An example of this is Awang Sulong Merah Muda, both 2015 and it’s restage in 2023, Malaysia pergi semua show; 2 shows for the 2015’s production and 3 shows for the 2023 production. Justifikasi: sebab it is soooo good, i couldn’t afford to miss it. Bila je lagi awak akan ada peluang nak tengok ia dipentaskan semula? Ini bukan mcm Netflix you boleh ulang tayang tengok sampai muak. Lantak la masa tu pengarahnya or production team mcm menyampah dengan muka Malaysia ke, or mcm, takde org lain ke nak tengok, sokay, janji Malaysia puas hati.

So, untuk Munchausen ini pun the same case. Lepas tengok the matinee show on the 3rd Aug, plus kebetulan malam tu Malaysia free-free sendu, so mcm, eh why not dtg tengok lagi. You know, even when a theater is from the same production, performed by the same casts, each staging could provide different nuances, different vibes, and different energy. So, sebenarnya nak cakap kat sini, it’s never a waste to catch the same theater berulang kali, waima the same production and the same casts. Cehhh, sebenarnya nak justify kesenduan hidup Malaysia je sebenarnya hahaha.

So, Ada Apa Dengan Munchausen Melalui Proksi?

Munchausen Melalui Proksi ialah sebuah naskah karya Yusof Bakar, a very prolific, accomplished and personally for me very good playwright and theater director/producer/practitioner (banyak eh? Haruslah orang2 seni kena mampu menggalas pelbagai skill dan tanggungjawab). The script is available boleh didapati dalam antologi skrip-skrip drama Yusof Bakar Dusta pada Skala 1 Hingga 10. Dalam tu ada skrip Munchausen Melalui Proksi ni. Boleh contact beliau melalui IG untuk cuba dapatkan (sementara stok masih ada). 

So to those yang nak tahu kisahnya, nak dissect lebih dalam the script, boleh dapatkan. Tapi untuk mereka yang tiada masa, dan just nak tahu apa kisah sebenar Munchausen Melalui Proksi ni, sini Malaysia ringkaskan.

Kisah melibatkan Nurlela yang nyanyuk, dijaga oleh Solihin anak lelaki tunggalnya dan Melati, isteri kepada Solihin. Melati dari background orang have-have, tapi kerana cinta (gittewww) berkahwin dengan Solihin. Bila Nurlela start nyanyuk, Melati perlu la sebagai isteri solehah and obedient menjaga Nurlela sementara Solihin kerja. Melati sebenarnya rengsa sebab macam kena jaga mak mentuanya, and in the process dia pun takde life, takde kerja, takde masa depan, takleh tengok teater selalu mcm Malaysia (ok, ini tambahan). Solihin pulak rengsa sebab sebagai lelaki, dia perlu la menyara keluarga, dan dia kalau boleh taknak ada orang asing jaga mak dia, so dia memang just mengharapkan Melati. Pung-pang-pung-pang, flashback sikit-sikit, penonton ditunjukkan belang masing-masing. Jeng jeng jeng. Something is wrong somewhere. And to make things worse, one of them ada penyakit Munchausen Melalui Proksi. Tapi siapakah?

Hah! Ending tu Malaysia biar je tergantung macam tu. Banyak cantik, kita penat2 emotionally drained and tortured menghadapi pementasan ini, awak-awak mika-mika sekalian nak tahu the ending and the plot twist senang-senang. Next time around, ada mana2 production pentaskan, pi tengok.

This is my second time menonton Munchausen Melalui Proksi this year. The first one is by Atisuto Production. So, masa tengok yang Atisuto Production punya, kat situ Malaysia terus auto fall in love with the script, aderr. The story itself is good.

Sebab, the story walaupun employ 3 watak, tapi garapannya, backstory of each watak, interactions antara satu watak dengan watak yang lain, kesan-akibat antara watak-watak tu, well sculptured. Dan strength utama naskah ini, bagi Malaysia, watak-watak dalam naskah ini dibentuk untuk kelihatan begitu human. Eh? Ada watak binatang ke?

Maksud Malaysia, human in the sense that no one character is objectively good, no one objectively bad. Setiap watak ada sisi baik dan sisi jahat masing-masing, and each of them ada mcm defense or justification on why they’re doing so and so. So, for me, it reflects the way we all are actually.

Contoh, melalui watak Melati, kita dipaparkan dia membebel menyampah nak jaga mentua dia nyanyuk, kena mandikan, istinjak everything. Dia rasa jijik nak jaga mentua dia. So kita rasa dia mcm menantu berkira, tak guna. But later we see that itu bukan the whole story. Dia menyampah dengan keadaan itu sebab dia hilang kebebasan, hidup dia, dia tak boleh kerja ke nak sambung study or tengok teater2 kat Lembah Klang mcm Malaysia. So the we see, yes, mungkin she is not being very kind sebab berkira bab nak jaga mentua, but bukan entirely her fault dia terpaksa menjalani keadaan itu.

Put ourselves into her shoes, or if those yang pernah experience jaga parents or mentua yang tua and sakit. Ikhlas-ikhlas mcm mana pun, masih possible untuk kau terdetik rasa menyampah, rasa menyusahkan. But of course you will still continue doing it, sebab tanggungjawab and all. So adakah perbuatan itu entirely wrong? If wrong, based on whom? Who has the right to say it? It’s just one aspect of things. Have you considered the whole circumstances and hardship of that person?

The same case with Solihin. At first you nampak dia sebagai anak yang baik, cari rezeki, jaga mak dia yang nyanyuk. But later in the story it was revealed, sebenarnya Solihin ni boleh tahan chauvinist, toxic and quite abusive.Dia nak ibunya dijaga, but dia korbankan kebebasan and kehendak isterinya Melati. So, is he entirely good? And bila reflect this onto ourselves, pernah je kan kita rasa decision yang kita pilih mmg terbaik, terpaling bermoral, but there are times yang kita tak perasan decision kita membawa keburukan kepada orang lain.

Dan ini yang membuatkan Malaysia cop naskah ini sebagai naskah yang baik. Naskah ini bawakan kepada kita the real human values, none of us is entirely bad, none of us is entirely good. We need context, and to see the whole story. Naskah ni buat kita terngadah, sebab awalnya kita judge Melati-Solihin terlalu awal, and then later baru realize yang our hasty judgment needs revision.

Well, enough about naskah. What about the production?

Ok ok je. Done. Tammat.

Hah! Antiklimaks tak? Beriya la kau baca aku melalut sampai sini, rupanya nak cakap tu je. 

Before Malaysia ckp pasal production MMP by BilBerkarya Production, Malaysia nak revisit sekejap MMP by Atisuto Production.

Munchausen Melalui Proksi

By Atisuto Production

Arahan Khalid Akmal

Di BlackBox Aswara, 11-12 Mei 2024

Of course watak Nurlela, Solihin dan Melati ada.

Cuma in this production, ada the 4th character, yang seperti seorang penyiasat or penyelidik. Kisah Nurlela, solihin dan Melati yang dibentangkan adalah seakan satu simulasi untuk 4th character ini menyelidik sebab-sebab kematian Nurlela. Lepas dah dapat tahu reasonnya, rupa-rupanya, the 4th character ialah Solihin yang cuba menyelidik punca kematian Nurlela yakni ibunya sendiri. What a plot twist. 

Pementasan dibuat secara runway layout, dengan pembahagian play area kepada 1 inner circle and 1 outer circle. Inner circle ialah kawasan simulasi 3 watak tersebut, manakala outer circle ialah kawasan the 4th character observes the simulation. Penonton diletakkan di sisi pentas seakan-akan terlibat dalam turut memerhati simulasi tersebut, atau kita memerhati si pemerhati memerhati simulasi tersebut.

Stage layout for Atisuto's MMP, compared to BilBerkarya's proscenium layout.

Ada beberapa elemen-elemen pementasan yang bagi Malaysia berkesan, antaranya the preset yang sedikit intriguing. The lighting and the partitioning of the play area is actually quite good. Yes, bergantung kepada where you sit, you will have full/partial view, tapi through that partition, dia sort of buat you mcm melihat memori. Memori kan mcm kabur-kabur manja, jelas tak jelas. So, it works for me la. Some may not like it. 

And then the way the mood is created through the songs, the creepy choreography that employs repetition of movement, dia just sent me that creepy vibes throughout. And some sequences did reflect the probable situation happening inside of Nurlela’s mind. Brilliant.

Pelakon-pelakonnya, walaupun arguably masih pelajar, dapat membawa watak-watak itu dengan baik. 

Read more on it in my Thread. 

So, what about MMP by BilBerkarya?

You all, masih belum terlambat untuk stop membaca sekarang sebab it will be quite long.

Last warning eh. Read at your own risk.

MUNCHAUSEN MELALUI PROKSI by BILBERKARYA PRODUCTION

Munchausen Melalui Proksi by BilBerkarya Production started with presets of 11 chorus, individually posing under the dimly lit stage, enough for the audience to see that there’s indeed a chorus on stage. 3 musicians (keyboard, violin and sax) at up-stage right, with the violin and sax taking turns playing the melody of a section of The Prayer (song of Celine Dion and Andrea Bocelli). Upon the house announcement announcing the starting of the play, the chorus started to vocalize and move in a certain pattern on stage, joined by another 4 chorus from the back of audience seats. 

Tidak seperti Atisuto Production punya, Munchausen Melalui Proksi by BilBerkarya Production guna layout proscenium, tetapi play area meliputi juga ruang antara main play area (yakni pentas) dengan tempat duduk penonton serta aisle dia tempat duduk penonton.

Ameer Qhusyairi with his brilliant and sumpah sedap voice.

THE SONGS

They then proceed with some of the chorus taking turns laying down the premise of the stories before one chorus, with an amazingly stunning voice that undoubtedly melted my heart, started to sing The Prayer. He reached every note he could reach, and in the process of delivering it, captured our look to him, the source of the voice. This lament of a song was made even better with the other chorus joining him occasionally in unison. 

Of course, if Malaysia needs to be fair, the pronunciations of Italian lines could be improved, particularly the following:

• [gn] digraph in words like sogniamo, ognuno, hardly heard as /nj/ (n followed by y sound), instead pronounced more like as individual /g/ followed by /n/

• Open a sound in words like senza, dia, forza where the singer has the tendency to glide it towards /e/ or /ə/ sound)

• Soft g in words like giustizia where the singer tends to pronounce as hard g

• Diphtong iu, or /u/ sound in general such as in giustizia, più where the singer has the tendency to glide it towards the o sound

• /d/ sounds that in times appear to be pronounced as /l/, e.g. simbolo di pace as simbolo li pace

and there is one part of the song that I detected somewhat to be misplaced, where he sang not the parallel Italian lines for the coupled English part. This verse in particular

La forza che ci dai | We ask that life be kind

È il desiderio che | And watch us from above

Ognuno trovi amore | We hope each soul will find

Intorno e dentro sé | Another soul to love

Was sang as

La forza che ci dai | We ask that life be kind

L'eterna stella sei* | And watch us from above

A ricordarci che | We hope each soul will find

L'eterna stella sei | Another soul to love

The italian line in sang verse above is actually for this english part

La luce che tu dai | I pray we'll find your light

Nel cuore resterà | And hold it in our hearts

A ricordarci che | When stars go out each night

L'eterna stella sei | Another soul to love

Which is actually an earlier verse. But the same verse is sung during the last show, so perhaps it was decided to go through with such a verse, albeit seems misplaced and deviates from the original lyrics. There’s also inconsistencies introduced when there are changes of ‘our’ to ‘your’. But the inconsistencies are consistent in both the matinee and final show. So again, such changes and inconsistencies perhaps are part of the singer’s decision.

But these are just some notes for introspection or improvements. They’re just a matter of pronunciation and clarity. It is in now way downgrading his beautiful voice nor his skill in singing. I still personally find his delivery of the song amazing and stunning, I still enjoy it. It still makes me cry, solely because his voice is dreamy and heavenly, yet so powerful it pierces any shield you have to hide and protect your emotion. I still feel like hugging him and thanking him for such a performance. And this is not the only song sung by him in MMP.

His duet with Solihin towards the end of the show, singing the legendary Sudirman’s Merisik Khabar is also a killer. The two, Ameer the chorus and Saifu Wazien as Solihin, complement each other. Their voice, and that tint vibration of emotion that’s delivered in created a perfect lament. And what made it more beautiful and powerful is the chorus, with their choreography and vocalizing, making the such scene thrice as intense.

So let’s move on to the next topic. Something that made this production of Munchausen Melalui Proksi unique, different and interesting: 

THE GREEK CHORUS

So Munchausen Melalui Proksi by BilBerkarya production has 15 Greek Chorus performing together with the 3 characters Nurlela, Solihin and Melati. And this is not kept as secret, you know, bukan masa on the show baru revealed that there’ll be a chorus in the performance. It was stated in the posters and promotional materials that the play “dibantu oleh 15 korus Greek”.

So, apa benda alah korus Greek or Greek chorus ni?

Dia macam ni, Greek chorus ni ialah a traditional element of ancient Greek theater. It is a group of performers who comment on the main action of the play through song, dance, and recitation. They provide background information, react to events on stage or represent the collective voice or conscience of the main characters or perhaps the audience. Average number of chorus in ancient Greek theater is about 12 to 15 but can also go up to 24 per play.

So by the time the poster was up, and it was made clear that there’ll be 15 Greek chorus in MMP, Malaysia was actually worried. Kenapa worry? Sebab for me it can go either very good or very bad, there’s no in-between. Dua tu je maqam dia bila when you try to explore this kind of thing, bila you nak try bawa kelainan. But at the same time I am excited to see how it will go.

And, I must admit, I am glad, and satisfied and beyond happy to see that the chorus employed in this production is very good indeed. Percaturan yang baik daripada tuan pengarahnya. Of course dengan susunan lagu dan choreography of the chorus, their movement blocking. Everything is in the right place.

And what’s amazing, yang menjadikan mereka tergolong dalam maqam yang baik, the chorus tidak mematikan 3 watak dalam MMP, and at the same time 3 watak tu tak menjadikan mereka sekadar hiasan pemenuh pentas. It works.

To me, antara reason why it works is because the production is clear on how to present the chorus. In term of functionality, the chorus menjalankan tugas-tugas Greek chorus yang telah dinyatakan di atas.

1. comment on the main action Chorus MMP ada memberikan comment2 kepada apa yang terjadi bagi Nurlela, Solihin & Melati
   

2. provide background information Dalam beberapa ketika, contohnya pada pembukaan play, chorus2 meberi background cerita.
   

3. react to events on stage Bila terjadi sesuatu antara 3 watak tu, chorus MMP ni akan turut membuat memek muka tertentu seakan turut terkesan dengan apa yang berlaku. And ada ketika the character interact dengan chorus in a very controlled manner.
   

4. represent the collective voice or conscience of the main characters Certain perasaan, luahan atau ekspresi or minda watak diluahkan melalui chorus.

So functional construct Greek chorus dalam produksi ini clear. Jadi dia tak jadi isu melalut, merapu, atau mcm serabut which can happen when employing such techniques.

Another thing is, the director knows to play strengths of each individual chorus. Those that can sing, will lead the vocal aspects, singing or harmonizing. Those who appear to be more skilled in dance will have a more prominent dance sequence. Well, this does not mean that certain chorus didn’t have to do more acting or more singing or more dancing. They all must do this, and they did. From my observation, it is apparent to me that a certain chorus will have a more prominent role in one of those aspects.

And there’s nothing wrong with it. For me, it is the director’s choice really, and the director’s need to be smart about it. This is a commercial production, so they have to give their best. There’s no use to force every single chorus to be able to sing like Ameer.  But at the same time, all of them have displayed a rather adequate mastery of the skills needed by chorus. Semua chorus in this production, to certain extent, boleh menari, boleh bergerak, boleh berlakon, boleh menyanyi.

And perhaps another reason that this chorus works, because it isn’t really distant from the audience in the sense that it is not as ancient as a traditional Greek chorus. Pemakaian dia agak contemporary, but still manifests that flowy drapes of ancient Greek looks. So, I personally relate to the concept brought. Chorus ni kelihatan sezaman dengan penonton. And dia nampak sezaman dengan kisah yang nak dibawa. So it blends well. Dia tak jadi mcm that janggal thing that pushed onto the stage, trying to happen or work. 

Tuntasnya, the Greek chorus, is actually a great decision. Yang asalnya Malaysia quite worry it may not go as great, nahh, it is beyond great. Again, ini percaturan yang baik, and also exploration yang baik from the director. Rather brave la I would say. It’s not easy to direct a 3 character-play, pastu you decide nak pakai juga 15 Greek chorus, and have it advertised in the promotional materials. Now, isn’t that a brave move? You kinda promise the audience, we’ll be having chorus incorporated into this play that is originally not written or dictated anywhere in it to have chorus. There’s no turning back though. It must happen, kalau tak org will tanya, kenapa suddenly decide tak pakai chorus kan? Panjang pulak ceritanya.

I bet he is glad that everything went well. I know I would be glad if I was him.

Shall we move on to the next element?

NURLELA, SOLIHIN & MELATI

Dari kiri Shera Rashid as Melati, Saiful Wazien as Solihin & Umi Kalsom as Nurlela

Nurlela dilakonkan oleh Umi Kalsom, a legend, especially to some of the production team and the audience, particularly the UiTM performing arts students and alumni, for she is a lecturer in Kolej Pengajian Seni UiTM. Each line delivered by her is wrapped by the right amount of emotion. The key is “right amount”. Sebab, kalau you overdoing it masa deliver line pun, tak boleh. Kalau kurang sangat pun tak boleh.

Sebagai Nurlela beliau bagi rasa yang cukup, and more importantly rasa tu sampai. Malaysia personally, as a person yang familiar with the jalan cerita MMP ni, still somehow struck and rasa mcm mengalir jugak la ya air mata tu datang dari mana tak tahu.

And then, bila I know the next scene tu, scene flashback Solihin nak intro Melati kat Nurlela, I was in my thought mcm “nope, nope, I am not ready for this”. Sebab, masa MMP by Atisuto, walaupun sebenarnya banyak scene lain yang mmg zahirnya lebih sedih, tapi bagi Malaysia scene flashback ni dia sedih yang lain macam.

Lain macam yang macam mana? Dia macam ni, scene flashback ni ialah a slice of happy moment in their life. It was at that moment that everyone masih in good circumstances. It was at that moment that you could only think of good things to come. As Nurlela, at that moment you know yang Solihin, your son, will marry, berumah tangga. As Solihin, at that moment, you know yg your mom restu your choice. As Melati, you know at that moment, Solihin seems to be the right man for you. But that’s the problem, it was only at that moment. Masa depan apparently tak begitu baik.

Jadi bila kita dah tahu keadaan semasa antara Nurlela, Solihin dan Melati, to know that they are messed up sekarang ni, kemudian dibawa ke satu masa yang sebenarnya bagi ketiga-tiga watak, semua nampak macam akan jadi baik, sakitnya lain macam.

It is always more painful and sad when reminiscing about that point in time yg it seems everything will go well, bright future, happy life, but at the present sebenarnya tak. That mixture of regrets and what-could-have-beens are just tormenting.

Of course I hope there’s a happier alternative for all 3, tapi nak buat macam mana, that’s the story. And that I must say what strengthens the story. Sebab in life, you can’t always have good tidings selalu kan. You akan ada regret, you akan ada what-if moments. Bila dalam keadaan teruk you akan teringat good moments in life, wishing that things could turn out better from that moment to the present. Alas.

Thus what makes the story is rather human. As if it presents to you the nature of life. Another way this story achieves this is through Melati. Melati in this production was brought alive by Shera Rashid. Watak Melati ni pada awal ditunjukkan sebagai seorang menantu yang berkira and merungut and menyampah sebab terpaksa jaga mentuanya, Nurlela. So, lumrah la, kau akan ada perasaan macam, apa masalah minah ni, jaga mak suami kau pun berkira.

Until further in the play, melalui penjelasan daripada Melati and also tingkah laku Solihin, baru you realize yang you have judged her too early. Watak Melati ni sangat human. Dia tak entirely jahat, dia tak entirely baik. Yes, dia berikira and merungut sebab kena jaga Nurlela, but kita tak realise yang dia membenci keadaan tu sebab dia tak rasa mendapat layanan yang selayaknya from Solihin and disebabkan dia terpaksa mengikutkan kehendak or permintaan Solihin untuk jaga and uruskan Nurlela, dia terpaksa korbankan kehendak dia. Dia takde life, dia rasa takde future. So what if you think dia berkira nak jaga Nurlela as bad value, bagaimana dengan hak dia nak dapatkan better life?

The same applies to Solihin, which is also very human. Pada awal kita lihat dia sebagai anak yang baik, ambil berat keberadaan maknya Nurlela, selalu ingatkan dia untuk makan ubat. Always ingat mak dia, even dalam keadaan nak memujuk Melati atau selepas berehem-ehem dengan Melati pun, terus tanya Mak mana, mak mana? Dia sebagai anak lelaki tunggal, and sebagai suami Melati tahu tanggungjawab dia untuk sara keluarga, trying to give the best to Melati and Nurlela. So sweet kan anak lelaki macam ni? 

You hope! Later in the play you akan realize yang sebenarnya Solihin ni boleh tahan sesuatu jugak. Sesuatu? Sesuatu, yang tak disangka. Dia sejenis yg agak toxic and later later, revealed yang agak abusive. Pada dia yang dia buat tu dah betul, which is true la, mmg sara keluarga, ambil berat pasal mak, is perkara baik. Tapi dia tak nampak perbuatan dia tu menidakkan kebahagian Melati, perbuatan dia juga yang sebenarnya memburukkan lagi situation mereka.

Tense betulllll

Solihin in this production was brought alive by Saiful Wazien. I have my biased towards him. But my bias aside, he did very well in delivering Solihin. You kena tengok macam mana dia portray that abusive side of Solihin. Dia ambil approach yang Solihin sejenis abusive yang juga psycho-ish. Dah pukul Melati, pujuk, sambil2 pujuk, tiba2 pukul lagi. Melati pun masa tu meraung dia lain mcm. 

Dia pukul nampak betul. Macam bercepuk jugak la bunyi. So after the matinee show, Malaysia sempat tanya pasal ni, and dia cakap ada la teknik yang dia pakai untuk buatkan pukulan tu nampak real. Pastu bila dia explain, Malaysia mcm tertanya, even with that teknik, macam akan sakit jugak je kat Melati. Pastu ntah gatal apa, Malaysia ckp, ok cuba buat kat Malaysia. So dia buat. Dia tak la full-blown, tapi masih sakit weyh. Apa doh? Hahah, Shera Rashid, tahniah for enduring such acting, that is really a dedication.

Which reminds me of that time lepas watch MMP by Atisuto Production, Malaysia sempat juga tanya Riny Rudy, who played Melati, macam mana diorang buat scene tampar tu sounded so real. So dia explained how she and Eunous Madeunous who played Solihin did it. Tapi masa tu takde la Malaysia nak minta diorang demo kan. Ni je kebetulan I know Wazien, tu yang minta. Plus Wazien as Solihin ni, dia tampar, lepas tu pukul, lepas tu tepuk2 belakang kepala Melati tu. Tak rilek betul. Anything to create that psycho abusive character eh.

Overall Malaysia is over-satisfied with the whole production. Perhaps the only improvement thay could be made is to make more shows, 3 je tak cukup. Or that’s perhaps improvement notes for the audience or public: pergi tengok show yang macam ni. With this kind of quality, kalau dia runs for more shows pun I rasa worth it. But of course la pembudayaan teater di Malaysia belum gah lagi, so they have to find a balance of staging as many shows as possible and at the same time making sure as many tix get sold as possible.

I hope there’ll be a restaging of this play. I definitely will come watch and of course I hope more people come and watch. This play is too good to be missed.

Looking forward to more BilBerkarya Production’s works and of course more directing by Shah Irwan. You are definitely now in my to-watch list.