A play with universal appeal
> Actor, poet and former journalist Kee Thuan Chye is taking the helm on a new, English, production of his play Swordfish + Concubine
will be staged here once again, this time in English, at Pentas 1 of the Kuala Lumpur Performing Arts Centre (klpac) from Nov 2 to 5.
This production will have the added distinction of being directed by Kee himself.
Based on two legends from Sejarah Melayu (or the Malay Annals), Swordfish + Concubine features two interlinked stories of how a young boy saved the island of Singapore from being attacked by a swordfish, and of how a royal concubine was sentenced to death on false charges.
These two stories are familiar to most people around the region, with messages that resonate even today.
In a recent interview, Kee says: “These two stories ... are related, in a sense that in the Swordfish story, the Sultan [of the time] is Seri Paduka Maharaja. In the Concubine story, it’s his son, Sultan Iskandar Shah.
starts with spoilt sorority girl Tree Gelbman (Rothe) waking up with a terrible hangover, in the bed of a total stranger named Carter (Broussard).
Disgusted by the fact that she has spent a night with a less popular guy in the college, Tree rushes back to her dorm.
It’s also her birthday, and her friends are throwing her a party. But just before it takes place, Tree is stabbed to death by someone in a freaky mask .
However, instead of dying, Tree wakes up in Carter’s bed again.
Soon, she realises that she must relive the same day, over and over, till she finds out the identity of the killer.
It is not an easy task. She is not a kind person and has many enemies. Even her own father seems to hate her. Can she solve her own murder?
“I started writing this play in the late 1990s. I can’t recall what was the source of my motivation. It might have been [the] Reformasi, or post-Reformasi [period].
“Since then, the play has undergone many revisions.
The film offers nothing new in terms of plot. We have seen similar themes being repeated in other Hollywood films, such as Each time I revised it because I saw with each staging that it could be further improved.
“So if you compare this version with the first version that was staged in Singapore in 2008, you will notice a [big] difference.”
Kee explains that he only makes revisions to his plays on his own accord. “The way I see it, this play is a living organism. It has been evolving.” Groundhog Day Tomorrow.
The story sounds interesting on paper but the execution was and Edge of
He adds that when he does his revisions, he is aware of the current social and political climate. “One of the themes of the play is the abuse of power.”
In the Concubine story, we learn about a covenant that was made between Demang Lebar Daun and Sri Tri Buana.
Demang Lebar Daun was the former ruler of Palembang, who abdicated in favour of Sri Tri sloppy. The film has predictable, lame scary moments.
The performance of the cast is soulless, and nothing to shout about. They were just reading their lines. Perhaps the predictable script does not allow the cast to shine.
The only thing going for the film is that you will have a difficult time guessing the identity of the killer.
Despite these many weaknesses, strangely enough, I still enjoyed the film. So can you, but only if you go with no expectations. Cast: Jessica Rothe, Israel Broussard and Ruby Modine Director: Christopher Landon E-Value: 6 Acting: 3 Plot: 3 Buana, who is supposedly descended from the heavens, and whose ancestor was said to be Alexander the Great.
In the covenant, Demang Lebar Daun and his descendants pledged their eternal loyalty to Sri Tri Buana and his descendants in exchange for being well-treated by their rulers.
In return, if the rulers ever oppressed or brought shame to their subjects, it would bring about the destruction of the kingdom.
“This idea is central to the play,” says Kee.
One major challenge he faced with the new production was finding corporate sponsors. He had to rely on the help of “old friends” to stage this play.
However, he was happy to get many fine actors on board, as well as the help of skilled stagehands working behind the scenes.
The cast comprises Na’a Murad, Sandra Sodhy, Qahar Aqilah, Alfred Loh, Hana Nadira, Arief Hamizan, Amanda Ang, Bella Rahim, Gregory Sze, Lefiz Alaudin, Bright Ong, and 12-year-old Joel Timothy Low.
“Some I cast after auditions, and some I approached directly because I knew of their abilities,” Kee explains.
Although Swordfish + Concubine was first staged in Singapore, and the Swordfish story is a Singaporebased legend, Kee explains that “to be honest, this play was written about Malaysia for Malaysians”.
But when he offered it to Ivan Heng, one of the leading directors in Singapore, “he liked it and felt it was about Singapore.”
In a way, Kee sees the play’s themes as having a universal appeal.
“The story of the boy who saves Singapore and gets rewarded – that speaks to everybody. I think this is the kind of play that everyone can relate to.
“I fashion it so that it is about Malaysia and about Malaysians, and the mindset we are labouring under. I put in all sorts of eclectic influences. I draw from here, there and everywhere.
“Although the essential story and what it is trying to convey is seamless, I made it a fun-filled experience. [There] is a lot of humour, drama, songs, dances, and silat. They all have a significant meaning.”
Kee is also using Swordfish + Concubine as a fundraiser for former RTM Orchestra conductor Ooi Eow Jin, who is suffering from Alzheimer’s, and his son, who recently underwent surgery to remove a brain tumour.
For details, visit klpac website or call 03-4047 9000.