In January 2008, I joined a Facebook group called United Colours of Malaysia (UCM) founded by Pravin Pillai and Jennie Yang.

Some weeks after, Pravin (a stranger to me), made me an administrator of the group. Shortly after I initiated a Free Hugs event through the group and Pravin suggested a meeting for the five admins of the group. I became friends with Pravin and closer with Jennie. Later I found out that both of them had worked with Yasmin Ahmad at an earlier point of their career.

I imagine Yasmin had a part, somehow, however little, in the concept and formation of the group. Just as how I attribute the group UCM, the contribution of Yasmin, Pravin and Jennie to the concept and formation of the collective I founded, RA.

Yesterday, after receiving news about Yasmin’s passing, I sent out this message to members of UCM.

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To date, there are 4767 members of this group.

I find myself asking, if 4766 of us accumulated our efforts AND results, in making Malaysia more united in colour, would it match of that one other member we had: Yasmin Ahmad.

We can discuss endlessly. So did she, I imagine.

But more importantly, she turned her views into actions. So we would, I imagine.

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Yes. All these people have only names and you’ll find no pictures of them, or me, here. Only an idiot would make himself look bad in his own column.

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Three plays by three directors

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I’ve to admit I didn’t quite get Silence, Please, by Jo Kukathas. The storyline that is. I got the gist of it. Certain parts what the story evolved around, showed the maturity (I suppose that’s the word) of the writer. The sub-messages as well was brilliant. As a matter of taste, it was a little slow for me and it did make me feel lost watching this as I had to keep on trying to piece it together in my head.

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Directed by Loh Kok Man, Repot?[Mind+Mine] was a play that had 95% of the script in Mandarin (or was it Cantonese). With subtitles of course. I didn’t expect to enjoy it as much as I did. There was defintely an almost equillibrium between the element of humour and message/theme. One of the things it seeked to determine and pose to the audience was, what is the national language, first language and mother tongue of a person. A conundrum namely with non-Malays who live in Malaysia.

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The last one, WIP did good but prolonged pauses turned me off a little. On top of the idea of promoting the freedom of thought, it also made close reference to the ISA which I’ve been researching about of late. This one was directed by Nam Ron and I was waiting for that X element from him in this one because of his previous work. Just as when I was beginning to feel disappointed, that element came in towards the end of the play. And it came well.

*Part 2 of the ISA series that I’m writing for RA will be out this coming Monday.

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I’ve always insisted on not saying things like, ‘for Malaysian standards, this was good.’ But that is indeed the case sometimes. That description is apt no matter how politically correct you wish to appear. Worse still if you grew up hearing and watching West End musicals and then you start watching local productions that is at most, considered to be post infant or perhaps pre adolescence.

What this one did was that, it would take a song from a famous musical or movie, alter the lyrics and theme to suit the Malaysian context. It did not help that my ears could not catch on as fast as Jennie’s in spotting the origins of half of the parodies they were doing.

But to break it down simply, at least 60% of the songs performed was brilliant. Definitely.

Some were off simply I believe because of two things. Some songs needed more,

• movement and/or people on stage. This was especially so with the somewhat barren stage they had. To compensate with more props and decor would be an alternative, but an expensive one indeed as the context (although all Malaysian), was a revolving one.
• singing by more people. Not just the one or three that they had on stage. But perhaps the whole cast if need be, for the sake of ‘delivering’ the song. Some just needed that grand effect with stronger melody.

That said, the parody of Tomorrow (from Annie The Musical) regarding how a Dato’ Hu must wait till ‘tomorrow’ for his cheque, perfomed solo by Mia Palencia was simply super.

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