Mac­beth, in full colour

Di­rec­tor Chin San Sooi delves fur­ther into a cu­ri­ous meld of Shake­speare and Chi­nese Opera.

The Star Malaysia - Star2 - - ARTS - By ANN MARIE CHANDY star2@ thes­tar. com. my

“THEY must come and see if it works or doesn’t work,” says di­rec­tor/ pro­ducer Chin San Sooi of his restag­ing of the Chi­nese Opera- styled Mac­beth.

Mar­ry­ing th­ese two art forms has long been a dream of his ... since the 1970s, he claims. And now be­ing able to reprise last year’s pro­duc­tion, in con­junc­tion with Shake­speare’s 400th death an­niver­sary this year, Mac­beth is not just timely but has also pro­vided more av­enues for ex­plo­ration.

Known for his unique in­ter­pre­ta­tions of fa­mous theatre texts, Chin will once stir up some fun with two of his favourite stage tra­di­tions.

“I am a dilet­tante of Chi­nese Opera. Though I don’t know much about it, I love Chi­nese Opera. Back in the old days, I would go and see any show I could on the streets,” said the 75- year- old vet­eran theatre per­son­al­ity and founder mem­ber of Five Arts Cen­tre, the Chi­nese Opera Club, Kuala Lumpur, as well as artis­tic di­rec­tor for The Can­ti­cle Singers.

“It’s not your reg­u­lar per­for­mance, it’s unique,” he said of this in­ter­pre­ta­tion of the clas­sic tragedy, and why peo­ple should make a point of watch­ing it. The play com­bines the full Shake­spearean text with op­er­atic cos­tumes, makeup, ges­tures, as well as the mu­si­cal in­ter­ludes and per­cus­sive ac­com­pa­ni­ment that go with the Ori­en­tal art­form.

Chin claims that, to his knowl­edge, no

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