Review by Roshafiq Roslee
Summary: Kaka-Lala is the latest ensemble production by Orang-Orang Drum Theatre presented at and with The Kuala Lumpur Performing Arts Centre (klpac). The production ran from May 16th to 19th 2024.
IMAGE: Orang-Orang Drum Theatre.
"Kaka-Lala," presented by the Boh Cameronian Art Awards winner Orang-Orang Drum Theatre (OODT), draws its title from a Cantonese phrase loosely translated to "every little corner of the world." This evocative production delves into the dichotomy between living and merely surviving by juxtaposing two contrasting environments: the bustling city and the tranquil village of Shan-Ka-La in Karak. The inspiration for this performance stemmed from OODT's 2021 project, where the group spent three days a week in Shan-Ka-La exploring the interplay between drumming and living, seeking to sample the "natural flavors" of life.
The show begins in the city, capturing the audience's attention with a raw, almost jarring portrayal of urban stress and monotony. The performers, their faces smeared with depressing white paint akin to plaster, exude a construction-like roughness. Their costumes, reminiscent of Yohji Yamamoto's patchwork, deconstructed yet stiff, layered office wear, contribute to the illusion of constrained movement, amplifying the city's rush and stiffness. Everyday office objects become surreal props: laptop bags, logbooks, blazers, and paper transform into tools of both work and play, symbolizing the struggle and fleeting joys of urban existence.
Boyz Chew and Leow Hui Min’s direction ensures that the city feels claustrophobic and relentless. The minimalist mise-en-scène, with a concrete backdrop, evokes mid-2000s Japanese Avant-Garde theater—a choice that, while visually striking, can feel a bit dated. A movable booth, initially serving as a prop storage, evolves into a dynamic element with projection mapping, adding layers of complexity to the performance space. This booth eventually becomes a metaphorical teleportation device, whisking the characters away from the city to the village of Shan-Ka-La in the second act.
Kaka-Lala ensemble during Act 1 (in the city). IMAGE: Orang-Orang Drum Theatre
The intermission forces the audience to leave the hall, ostensibly to prepare for the transition to Shan-Ka-La, a village in Karak. However, upon re-entry, the only noticeable change is a medium-sized leafless tree, which feels underwhelming given the anticipation built during the break.
One notable critique is the ambiguous representation of Shan-Ka-La. The village lacks a distinct identity, and the use of a Bornean Sape instrument to accompany the drums in the second act feels out of place. This raises questions about the relevance and authenticity of cultural elements used in the performance. What if using instruments more closely associated with Pahang, such as gendang pahang or the Serunai and Nobat, maybe it could enhance the authenticity and resonance of the village’s identity portrayal.
Despite these shortcomings, the thematic question—"Why do I still hear the same symphonies of drums from the city when I'm with nature?” —lingers throughout, provoking thoughtful introspection.This theme is mirrored in the performance, as the drumming, while evocative and powerful, often blurs the lines between the two settings. In act 2 the ensemble's movements become more fluid and expressive, reflecting a newfound freedom in the village, yet they remain haunted by the aggressive rhythms of the city drums. This duality is poignantly illustrated when a man seeking solitude under the leafless tree is continually disturbed by the intrusive drums, symbolizing the persistent intrusion of urban stress into rural tranquility.
Kaka-Lala ensemble during Act 2 (in Shan-Ka-La) IMAGE: Orang-Orang Drum Theatre.
"Kaka-Lala" culminates in a poignant commentary on the pervasive nature of modern urban life, even in the supposed refuge of nature. The production challenges the audience to reflect on their own experiences of disconnection and the relentless pressures of contemporary living. As the synopsis provocatively asks, "Far away in Shan-Ka-La, I thought I had escaped the city—yet why has its symphony never ceased?" This sentiment resonates deeply, leaving viewers to ponder the possibility of true escape from the omnipresent clamor of city life.
From left to right: Leow Hui Min (Co-Director & Ensemble), Zyee Leow (Music Director & Ensemble), Boyz Chew (Artistic Director & Ensemble), Jian Ru (Ensemble), Wai Kei (Ensemble), and Tai Chun Wai (Ensemble) IMAGE: Orang-Orang Drum Theatre
Kaka-Lala succeeds in its ambitious goal of exploring profound themes through the unique medium of drum theater, and the commitment of OODT to their craft is undeniable. OODT's innovative use of props, costumes, and projection mapping, combined with their powerful drumming and movement, make this show a memorable exploration of the complexities of modern living. Yet my question to them is, is this enough? The lack of a distinct identity for Shan-Ka-La and the questionable cultural elements highlight areas for improvement. Nonetheless, "Kaka-Lala" remains a significant artistic achievement, inviting viewers to reflect deeply on their own perceptions of living and surviving in an ever-connected world.
About the Writer:
Comments