THEATRE-MALAYSIA: Political Playwright Turns Romantic

By IPS Correspondents Reprint | | Print |

R. Mageswary

KUALA LUMPUR, Oct 20 1998 (IPS) - Writer-director Huzar Sulaiman made his name in Malaysia’s theatre world with stage works that had strong political undertones. His latest play, however, is on a different tack – and the critics and audience are lapping it up.

‘Hip Hopera’ opened on Oct 1. to a full house, and has been doing turn-away business at the box office ever since. Some nights, Huzir himself can be seen adding more chairs in an effort to accommodate more of his die-hard followers who do not seem to mind his straying from familiar territory.

‘Hip Hopera’ is no ‘Atomic Jaya’, Huzir’s first play that rocked the Malaysian theatre world with its outspoken political comment that risked offending authority. This feature continued in Huzir’s subsequent stage efforts, ‘Lazy, Hazy, Crazy’ and ‘The Smell of Language’, which was part of the eighth Asian Monodrama Festival.

Now comes his fourth play, ‘Hip Hopera’, which is being staged by the Straits Theatre Company. Anyone insisting on looking for the Huzir “political plot” here will be disappointed, since ‘Hip Hopera’ is a musical romance comedy- and it is also fun and in tune with the times.

According to Huzir, his new play does not mean the end of his biting social commentaries after only three plays. “First, I want to be a very good artist,” he says.

“Theatre does not reach a large enough audience for it to have a social or political impact. I wish it were otherwise, but I have to be realistic. I think political art is only worthwhile if it reaches a larger audience.”

That’s why he put together ‘Hip Hopera’, the story of a courtship between nightclub owner and certified macho man Jay (played by Afdlin Shauki) and a woman named Salina (Paula Malai Ali).

The play opens with Salina applying for a job at Jay’s nightclub, and sparks soon fly. The attraction between the two, who happen to be next-door neighbours, is obvious, but jealousy and misunderstanding get in the way. Complicating matters further is Jay’s friend and employee D.J. Trey (Iskandar Najmuddin), who tries to discourage the relationship.

But Salina finds a shoulder to cry on in the practical club manager played by Sandra Sodhy as well as the bartender Derrick (Michael Voon). Eventually, the lovestruck Jay and Salina sort out their differences, although Huzir stops short of saying they will live happily ever after.

It’s a simple plot, often used, but Huzir has managed to give it a fresh and entertaining twist. He describes ‘Hip Hopera’ as a “technical experiment” that combines the musical comedy format with pop music that includes rap and rhythm and blues.

While the most memorable number is Derrick the bartender’s ‘Don’t Know, Don’t Talk’, most of the tunes are also so engaging that people tend to be humming snatches of them after the play is over.

Part of ‘Hip Hopera”s success is due to the talent of most of the cast members. Seasoned artist Afdlin makes for a loveable scoundrel of a leading man, while Iskandar hits the right notes as his well-meaning friend Trey who ends up causing more trouble for him. But it is Michael as Derrick who steals much of the spotlight, with his hilarious gestures sending the audience in fits of laughter.

Sandra also does justice to her supporting role, but leading lady Paula unfortunately fails to do the same, and comes off like one of those showcase dolls in Hindi films.

Many Malaysian critics, however, say what really makes ‘Hip Hopera’ a crowd pleaser is Huzir’s writing. Comments one local reviewer: “The most satisfying aspect of the show has to be the material; the writing is rich with nuance and penetrating commentary on the times in which we live. Credit for this goes solely to Huzir.”

In truth, however much he says he tries to avoid it, Huzir seems incapable of steering clear of politics, although he does it with sly humour. Declares a character in the play: “Ask me anything. This is a free country.”

There is also a nod to the MTV generation, with Jay asking Trey, “What’s wrong with the Backstreet Boys? They did something to you?”

“People can interpret my work however they like,” says Huzir. “It’s up to them to think ‘Hip Hopera’ did contain social or political commentaries. But, please don’t read too much into it.”

He insists that he “wants to be apolitical in my work” and “demonstrate my beliefs, whatever they are, in other ways”. He says all he really does in ‘Hip Hopera’ is use a “simple, low culture medium” to deliver a “simple low culture message”.

Others would surely disagree. But most of those who have seen it would probably have no trouble in seeing it as a good mix of great talent, wit and class.