Tag Archives: PenTAS

Call for Performers

Are you a singer? A musician? A stand-up comic? A spoken word artist? A dancer?

Are you in a band? A sketch comedy group? A dance company? A theatre outfit?

If you are and would like to showcase your talents, why not be a part of penangpac’s FRINGE FESTIVAL from 9 to 11 May 2014 at Straits Quay, Penang?

Take this opportunity to be a part of an exciting weekend celebrating all things performings arts!

To sign up, please email fringe@penangpac.org.Fringe Festival Call for Performers

Review: Shakespeare Demystified’s Hamlet A Performance Lecture

Yasmin Bathamanathan reviews Hamlet A Performance Lecture by Shakespeare Demystified that was on at penangpac from 10-13 April 2014.

“To be or not to be …”

How many a times have we used this famous line from Hamlet without fully understanding its meaning? I remember using this very line in a debate I participated more than a decade ago in school. Sure, it is dramatic, pregnant with existential conundrum in whatever context we deem it be:

Successful – to be or not to be

Happy – to be or not to be

Wedded – to be or not to be

You get the gist.

Yet, only today, at the ripe old age of *ahem* did I find out what Shakespeare meant by that famous line in Hamlet’s soliloquy at Shakespeare Demystified‘s Hamlet A Performance Lecture. You see, in his many philosophical ramblings post-Hamlet the Older’s death, Hamlet the Prince either devices plans to bring his Uncle/Stepfather/Daddy-Murderer to justice or to seek vengeance upon murder of his Daddy (Hamlet, the Dead King @ Hamlet the Older).

However, in this particular soliloquy in the Nunnery Scene, sad puppy Hamlet contemplates suicide. “To be or not to be”, with the emphasis on the verb “be”, which indicates a state of being. In other words to EXIST or NOT TO EXIST @ ALIVE or DEAD. Nothing to do with success, happiness, matrimony or whatever else. “To be or not to be” was a question of “Should I live or should I kill myself”.

Wow! I know, right? If only the 16-year old me knew this. She probably would have known had she had the chance to attend something like Shakespeare Demystified‘s Hamlet A Performance Lecture.

Hamlet, while being one of the greatest plays of Shakespeare, the greatest writer of the entire history of mankind, is also mind-numbingly long. Four-hours long, give or take. Being the guardians of the demystification of Shakespearean sagas, this vagabond (not really; they are based in KL) troupe of Shakespearean fanboys and fangirls from Malaysia have come up with a surprisingly approachable introduction to Hamlet.

Selecting key scenes and events from the play, the cast of Hamlet A Performance Lecture first introduce the scene, give the audience a little background on the context, discuss the motivations behind some of the actions, provide literary criticism on the characters and events, and explain certain terms (who would have thought an innocuous phrase such as “country matters” can have double entendre?).

Five actors – Kien Lee, Anne James, Lim Soon Heng, Marina Tan and David H. Lim – each get to play Hamlet in different scenes besides playing out other characters. Each of them brings something different to the characterisations of Hamlet, giving the audience a somewhat rich and diverse experience. Needless to say, each of them is a delight in their individual portrayal, like Kien Lee’s maniacal Hamlet is cockier and crazier than Anne James’s strong and contemplative Hamlet. 

While it was an enlightening and entertaining for me as an audience to experience a deconstructed performance of Hamlet, the literature student in me was in full awe. The Shakespeare Demystified troupe has a lot more to offer than mere entertainment, and that is education. The two hours spent watching them and listening the discussions during the Q&A session made me come to one conclusion:

WE NEED TO INCORPORATE SHAKESPEARE DEMYSTIFIED (OR ITS CONCEPT) INTO OUR LANGUAGE AND LITERATURE SYLLABUS!

In case anyone from the Ministry of Education Malaysia is reading this, please send this message to your higher-ups:

CALL SHAKESPEARE DEMYSTIFIED TODAY AND START BRAINSTORMING! ASAP!

As for me, I am going to wait and hope that Shakespeare Demystified does not make me wait a whole year for their next production.

 

 

YKLS.Period: Reworking the sounds of the past

The new year ushers in a time of rejoicing as we begin to chart another year with a clean slate. Resolutions are made to be made, and, yes, some to be broken. Here at PenTAS, we hope you are resolute to catch more performing arts works and to pledge your support (in any form, actually) to the proliferation of the arts. Because what kind of a life would you like to live if the is no place for the arts in it, right?

Well, to kick start you resolution (which we truly hope is to support the performing arts), why not be raptured by a captivating choral performance – YKLS.Period – by the Young KL Singers (YKLS) at penangpac. Taking us on a journey back in time, YKLS.Period revisits vocal music written during Europe’s most flourishing period from the Medieval and Renaissance to Baroque. The sounds of the past are reworked for the modern world, bringing us lute songs and rotas, court dances and madrigals.

ykls
An aural feast that looks magical. Good thing, we say!

The choir will take a retrospective tour of the different schools and styles of vocal music in England, France, Spain and Italy during that era – tying them together in a poetic story, told through song and dance, in period costume and sets. YKLS will explore the fusion of different elements in the performance practice of the music, experimenting with fusions of styles and improvisation, as was the common historical practice of music during that time.

YKLS.Period promises something for everyone and will be a unique experience for audiences here, as they will be treated to a stunning visual and aural feast. It will be a rare chance for audiences to hear and see music from one the most vibrant eras of European history, performed live here in Penang.

 

YKLS.Period

Date

10 – 12 January 2014 @ 8:30pm

11 – 12 January 2014 @ 3pm

Venue

stage 2, penangpac @ Straits Quay (3H-3A-1, Straits Quay, Jalan Seri Tanjung Pinang, Tanjung Tokong, 10470 Penang)

Ticketing Information

RM 35 (Adults)

RM 25 (Physically-challenged, Senior Privilege Card Holders, Students & TAS Card Holder)

Preview Night Promotion (10 Jan) : RM 20

Group Booking: Buy 10 Get 1 Free

 Tickets can be purchased at TicketPro or the penangpac Box Office. For reservations or more information, call penangpac at 04-8991722 / 2722.

Confessions of a Chorister

By Khoo Wei Cyn

You may think that to join a choir group, you need to be able to sing well from the get-go. That’s got some truth to it, but only to a certain extent. What you really need in a group is the spirit of teamwork. We breathe together. We hit the high notes and low ones together. And we cover for each other when one of us runs out of breath. That’s what a choir is for; we sound good collectively when we can’t on our own.

Choral singing had been my lifeblood since 2010. The weekly practices with the Penang Philharmonic Chorus (PPC) are my panacea from life’s doldrums. Meeting friendly and familiar faces, taking part in the chatter and for two hours, breathing deeply then singing my heart out distracts my mind from trivial tribulations. Over the years, I’ve even learned to like the sound of my voice. I know the flaws in my voice and I appreciate the strengths that I have, experimenting with my breath and vocal articulations wherever I am least likely to embarrass myself.

I’d parted ways with the chorus after Martin Rutherford left. He had been our chorus master before he made penangpac his new “home”. However, the number of chorus members who remained at PPC weren’t enough to perform any major choral works in his absence, and when I heard news that he was appointed chorus master for The Actors Studio Chorus (TASC), I decided to join this new group, hoping to sing more grand pieces such as the Hallelujah Chorus and Zadok the Priest.

TASC was well into Week 6 of practice when I joined them. I had been swamped with Short+Sweet Theatre Festival before that, and between academic studies and my day job, I was stretched thin. Banking on my assumption that most of the carols were the ones I’d sung before at PPC, I hoped I could catch up with the choristers. Then I asked Martin if I could sing with them. The answer was yes.

Although there were many new and strange faces in the chorus, I warmed up to them very quickly. Now they are my new family, even though I hadn’t been looking for a new home. And I love the melody of all the carols! The Cowboy Carol, The First Nowell, Jubilate Domino and Sing Gloria are some of them. But the two songs titled The Holly and the Ivy and the Hallelujah Chorus are my all-time favourites as they feature uniquely polyphonic, contrapuntal music which sound amazing when performed flawlessly with an orchestral backing.

Martin is conducting with his usual emphasis on consonants and synchrony. It’s pronounced “lit-tel”, he keeps reminding us. Don’t sing during the two-beat rest unless you want your name to be in the programme as a soloist! he teases. But after 17 rehearsals, those words don’t faze us anymore. We’re ready to sing our hearts out. We’re ready to draw you into the beauty of choral music. And we’re dead serious about making good music for everybody!

A neophyte to theatre, Khoo Wei Cyn has just survived a thespian’s adventure at Short+Sweet Theatre Malaysia 2013 in Penang. She enjoys writing, reading and appreciating art in all forms. Her latest adventure will see her perform on stage in the The Actors Studio Chorus’s Family Christmas Concert 2013.

choir1
Tickets for Family Christmas Concert 2013 can be purchased at TicketPro or the penangpac Box Office. For reservations or more information, call penangpac at 04-8991722 / 2722. 

 

Family Christmas Concert 2013

Christmas comes to penangpac this season with a whole lot of singing peppered with some ho-ho-hos!

The Family Christmas Concert 2013 will feature The Actors Studio Chorus, which comprises of 70 singers, and Musica Sinfonietta, made up of 35 players. That’s a whopping 105 people coming together to serenade you this season!

Expect to hear Christmas classics such as ‘Hark The Herald Angels Sing’, ‘Silent Night’ and  ‘O Come All Ye Faithful’, as well as Chorus and Orchestra carols such as ‘The Cowboy Carol’, ‘Hallelujah Chorus’ and ‘Four Australian Christmas Carols’.

Martin Rutherford, the Chorus Master of The Actors Studio Chorus, will be conducting the Family Christmas Concert 2013.

Family Christmas Concert 2013

Date

23 & 24 December 2013 @ 8:15pm

Venue

stage 1, penangpac @ Straits Quay (3H-3A-1, Straits Quay, Jalan Seri Tanjung Pinang, Tanjung Tokong, 10470 Penang)

Ticketing Information

RM 33 (Adults)

RM 23 (Physically-challenged, Senior Privilege Card Holders, Students & TAS Card Holder)

Tickets can be purchased at TicketPro or the penangpac Box Office. For reservations or more information, call penangpac at 04-8991722 / 2722.

Review: Marrying Me

Tying the Knot? … Not!

By Khoo Wei Cyn

Images courtesy of PenTAS

Everyone has their own notions on what a complete and well-lived life comprises. For most of the older generation, their notion is centred on marriage, which, in part, is the product of our survival instincts for ensuring the continuity of our genetic line. Produced by The Kuala Lumpur Performing Arts Centre (klpac) and Performing Arts Centre of Penang (penangpac), Marrying Me: A New Musical, directed by Christopher Ling, addresses this concept through script, dance and song for four days; from 5-8 December at stage 2, penangpac and 12-22 December at pentas 2, klpac.

Be sure to get your ticket today!
Be sure to get your ticket today!

In the musical, Stephanie (the main character) rebels against tradition and stigma to live a life she wants; freedom from all the problems that come when the “going gets tough” in a marriage. Her idea of normalcy clashes with that of her mother’s (Sandra). For Sandra, the desire to live as a woman in a matriarchal role and having a happy marriage is the normal path where as Stephanie, the NGO fighter for women’s rights, has seen the reality of marriages gone sour. To Stephanie, that reality is normalcy, and she wants to protect herself from that situation by being independent and self-sufficient.

More and more details about Stephanie’s upbringing are revealed as the musical progresses into the second act. We learn that her mother was a victim of an abusive marriage, and Tony, the man whom Stephanie had loved dearly, reminded her of her own father. Determined to never repeat the mistake her mother made, she insists on a life of singlehood but this is thwarted by Sandra’s faked chronic illness, where she makes Stephanie promise to get married in her “dying wish”. Whether she goes on with her promise or not, that you would have to discover for yourself.

Marrying Me is certainly the musical to watch. Its upbeat, snazzy music peppered with doses of comedy and hilarity is brought to life by a spectacular lead actress and a solid cast. I loved the music and the way the lyrics were written, plus the scenes where comic relief was prevalent to break up the sombre mood reflective of Stephanie’s dilemma.

You don’t have to love singlehood to appreciate this musical; I’m sure you can draw some parallels with your experiences about marriage from it. And if you’re single, you may walk away feeling better about staying that way. But no matter who you are, I think that you will enjoy watching Marrying Me as much as I did. What’s not to love about good music, great fun and endearing characters?

*A neophyte to theatre, Khoo Wei Cyn has just survived a thespian’s adventure at Short+Sweet Theatre Malaysia 2013 in Penang. She enjoys writing, reading and appreciating art in all forms.

PenTAS Exclusive: A Chat with Stephanie Van Driesen of Marrying Me

*This is the third of a three-part feature about Marrying Me. Read the first part here and the second part here.

We have read how Christopher Ling describes this musical comedy of his and so have we heard from EllaRose Chary. How about the leading lady, the star, the heroin of Marrying Me? We wanted to know what is it like for her to work with such an international group, and how it is like playing someone else shares something in common with her.  So, for the third and final installment of the Marrying Me special, PenTAS talked to Stephanie Van Driesen.

Bitten by the acting bug when she was a just teenager, Stephanie has embarked on a long and arduous journey, all in the name of art. This singer/actor/dancer not only has a degree in musical theatre from one of Asia’s leading art schools, Lasalle College of the Arts in Singapore  but she also nabbed the college’s coveted President’s Award [Source: R.AGE]. Upon graduation, she returned home to Malaysia and has since made quite the name for herself in the local performing arts scene, appearing in hit shows such as The Secret Life of Nora and Cabaret. In a week’s time, you will get to see Stephanie on stage. Before that, let’s hear what she has to say about the world the folk of Marrying Me have created.

How do you see Marrying Me?  
A musical about one woman’s journey towards self-acceptance. All throughout the musical other “voices” – that of her mother, tradition in general, her own doubt and fear – keep her from owning up to how she really feels about who she is and what she wants, so she fights against the labels people put on her, as they try to get her to fit into what they want her to be, to make them happy. But in the end she realizes the only one who can truly make her happy is herself, and she begins to own that.

What drew you to audition for this musical? 
I didn’t actually audition for the role. It was more of an invitation. I had worked with Christopher Ling before on Songs for a New World at the beginning of this year, and with Onn San on The Secret Life of Nora in 2011 as well as on his début album Epomania on which I sang. I really enjoy working with them and I admire their work so any opportunity I have to work with them I would be keen on. They both approached me with this idea of a new musical and really wanted me to be part of it. So I said yes even before I had heard the music or read the script (which was still being written at the time).

Could you tell us a bit about Stephanie? 
She starts of as quite an angry, frustrated character, she has a lot of fight in her, and she doesn’t give in. Throughout the musical it is revealed why she is as she is. She talks to herself a lot, and tries to get the audience on her side. She is someone who had changed herself earlier in order to keep moving on from her past, but now she has become stuck in the conquest to prove others wrong. We see her unravel and we see her weaknesses, and hopefully we find ourselves relating to some of what she goes through.

How did you approach the character you play?
I relate to her in some ways and in many ways I don’t. So it was a combined effort of fleshing out the character’s landscape in collaboration with the playwright’s (Mark Beau) view, Christopher Ling’s vision, and in conversations with the other actors. For me, it’s an organic process too where I like to keep adding layers to her in the scenes, finding out what she really is looking for in every moment, and bringing it all together so it makes sense. It’s still an evolving process. I take many cues from the music, which is very emotional and evocative, to help build her inner world, because very often in musicals it is in the music, i.e. songs that you discover what the character truly feels and wants.

Were there any challenges in personifying Stephanie? 
Yes. Aside from the technical aspects of getting everything down, i.e. music, script in such a short time where we had scenes and musical numbers still being written and rewritten even as rehearsals began, I had difficulty accepting her. What this means is that I as the actor had certain judgements about her and it became difficult to really step into her shoes because there are many things she does, says, or reacts to in a manner I would never in my own life, and wouldn’t want to. So the fact that I was bringing to life someone I didn’t “endorse” was hard, but I had to discover that she really is a part of me somewhere inside me, perhaps a persona that I had locked away somewhere, or shut off the way the other characters want to hush her voice. But slowly I began to accept that she had a unique voice, and I began to use her voice as an opportunity to say things I personally would never voice. I began to enjoy the release and license it provided. Actor’s privilege! What was and is still challenging is keeping the through-line of her story fresh and alive in my mind as we progress through the play, as there is a lot going on all the time from start to finish, and it has to make sense very clearly every step of the way of where she is on her journey.

Both you and the character you play share the same name. Is there anything else that you two share? 
Yes, and more than I’d like to admit at times. We both have this fighting need to be free. To be free of convention and do things our own way. In life, we often don’t allow ourselves to really challenge all that we believe in when it doesn’t work anymore, and fewer of us have the courage to really take the action required to move things along in that direction. The character and I are both free spirits caught somewhere between flying free and giving in to doubt and fear. We want to do things our way, even if others agree. And we both still need to accept ourselves more.

How was it like working with the rest of the cast of Marrying Me
Fun and crazy! I’m so glad I get along with everyone in the production. *breathes sigh of relief* It just makes the whole process more enjoyable. We crack each other up so sometimes it’s hard to keep a straight face even in more serious scenes! Of course, playing off the other actors is always the best part. We’re still finding our nuances and I’m sure we’ll discover more even on the stage once we begin the performances as the audience is also another important participant in the show. The energy of the show can change depending on the audience, too.

How was it like working with Chris? 
He is a very visual director, and so works a lot in terms of how he wants the audience to view the scenes, the characters, and what he would like the audience to come away with thinking. There is always a point he wants to emphasize in line with the story. So I think he works towards that in every scene. He also allows the actors the freedom to realize their characters and only steps in when something we choose to put into the characters isn’t working or doesn’t feel right. So you have to be an independent actor and do your homework! I really enjoy his creative use of space. On top of that he is like the gleeful spectator, and really enjoys himself in rehearsal, unless we are all over the place, which is when he doesn’t think it’s funny at all!

What kind of experience can the audience expect when they come to see Marrying Me?
I think it’s really a slice of true honest Malaysian life. Those at or above 30 years in the audience may totally relate to the pressures of getting married that families place on them, and everyone will recognize someone in the musical as someone they know in real life. The musical is also very exaggerated especially in certain musical numbers where something major is being highlighted. Hopefully the honesty still comes through even with all the fanfare. In that there is quite an absurd element, so the audience is in for a treat. It’s a musical that has everything – comedy, pathos, some tragedy, danger, etc. Also, it’s not a musical where audiences are just passive onlookers. We really want the audience to feel they are part of the goings on, and that they have a voice too that is heard and felt in the story.

Finally, what would you like to say to those coming to see Marrying Me?
Just have fun! Come with an open mind, and have a few drinks before so we’ll all look much more attractive onstage!! Haha, maybe not. But seriously, just come and enjoy a truly Malaysian musical with quite a lot of something extra. If you are a hardened nut and the story doesn’t move you, then the songs will! I think the audience will come away humming some of the tunes. I’m glad to be working on a very groundbreaking musical and I believe this musical can go far, even onto international shores. So, here’s hoping for the best, and the audience support is very much needed in order for this to take off.

So, here you have it people. Now that you have read all about Marrying Me, it’s time for you to get your tickets and join the cast and crew at penangpac from 5 – 8 December 2013!

Marrying Me takes place at stage 2, penangpac @ Straits Quay (3H-3A-1, Straits Quay, Jalan Seri Tanjung Pinang, Tanjung Tokong, 10470 Penang) from 5 - 7 December 2013 @ 8.30pm and 8 December 2013 @ 3pm. For information on ticketing, check out penangpac.

Marrying Me takes place at stage 2, penangpac @ Straits Quay (3H-3A-1, Straits Quay, Jalan Seri Tanjung Pinang, Tanjung Tokong, 10470 Penang) from 5 – 7 December 2013 @ 8.30pm and 8 December 2013 @ 3pm. For information on ticketing, check out penangpac.

PenTAS Exclusive: A Chat with EllaRose Chary of Marrying Me

*This is the second of a three-part feature about Marrying Me by Yasmin Bathamanathan. Read the first part here and third part here.

You would think that to come up with something “quintessentially Malaysian”, one would need to be a Malaysian or have spent a fair amount of time in Malaysia. But have you ever thought of how one can learn about a foreign culture through speaking to people of said culture? Ah, ha. Thought so.

In the upcoming production of Marrying Me, the lyrics of the songs in the musical were penned by an American – one EllaRose Chary, to be exact. Mind you, EllaRose (oh my god, so in love with her name!) is no calang-calang (translation: ordinary) lyricist. Her extensive CV states that she is “a writer, performer, dramaturg and activist based in New York City” and has seen her work featured all across the US, in Australia and now, Malaysia. EllaRose was just recently named a 2013 Fellowship Finalist by the New York Foundation for the Arts in the Playwriting/Screenwriting category.

Intrigued by the very idea of this trans-Atlantic-and-Indian (oceans, la) collaboration, PenTAS does a bit of that emailing biznes with EllaRose to pick her brains on Marrying Me, writing and cross-cultural pragmatisms. 

In a few short sentences, how would you describe Marrying Me?
At its heart, I think it’s the story of a woman who is trying to balance her responsibilities to society, her mother, and herself. It’s also (I hope) a funny and poignant show that mixes a traditional musical theatre sensibility with a Malaysian flair. There are a lot of fun moments in the show, but there’s also something deeper going on, which makes it really interesting.

How would you describe the music of Marrying Me?
It’s a contemporary musical theatre score with a pop sensibility. We’d try to make the songs melodic and hook-y, without making them cliched, and so there a lot of styles working together. I think the melody Onn (San) wrote for “Marry Me” is  just beautiful, and it was easy to write lyrics to that one because you can just feel the emotion coursing through the song.

How did your involvement in Marrying Me come about?
Onn and I were in the same class at NYU’s Graduate Musical Theatre Writing Program. We worked together a bit in the program and really liked the songs we wrote together, so we knew after we finished we would keep writing together even though he was in Malaysia and I was in New York. When the opportunity came up to write Marrying Me, Onn asked me if I wanted to write lyrics, and of course I did.

Have you had any prior experience with Malaysian theatre?
My only prior experience with Malaysian theatre has been through Onn; I know what he’s been working on the past few years because of our collaboration and friendship. But, the real answer to that is no, I had no prior experience and I’m so excited to have had the chance to get to know everyone working on this project and really look forward to connecting with other Malaysian artists when I visit in December.

Could you share with us how did you pen the lyrics for the musical?
Coming up with the lyrics definitely grew out of a strong collaboration with Mark (Beau De Silva) and Onn. We all started writing around the same time, and we came up with a lot of the ideas for the show as a team, so when Mark would give us an outline, we would start to decide what the song moments might be. Sometimes we were right, and sometimes we were wrong and would have to change things as the script developed. The first song, “I Don’t”, which is one of my favorites, was the first thing we wrote and it was before we really knew a lot of the details of the story. We knew the basic idea that everyone around Stephanie was saying “I do” and she was resistant to that, and so it just seemed natural to me that she would say “I Don’t” which felt like a strong hook for a song. Once we decided on the title Marrying Me and we knew what the show was going to be about, both Onn and I knew that Stephanie had to have an 11 o’clock number called “Marrying Me”, but that ended up being one of the hardest songs to write because it felt like I had to capture what we were trying to say in the whole show in one lyric while keeping it specific to the story and the character.

What was the process like?
The process was actually really fun and sort of easy for me because I was 12 hours away and so all the fighting happened while I was asleep and then I would wake up in the morning and everything would be resolved (just kidding). Seriously, though, it was great because Mark, Onn and Chris are all real professionals and so everyone was focused on getting the work done in the short time we had to put everything together. There were certainly stressful moments, because the deadlines came very quickly and I knew I had to get Onn the lyrics as soon as possible so he could work on the music. The basic process was that Mark would write the scenes and we would figure out what the songs were, then Onn and I would decide whether we wanted to start with lyrics or music depending on what seemed right for the song. After we started having drafts of the show, we would meet on Skype with Chris and read through it and give notes and make adjustments based on what we had.

Were there any challenges in coming up with the lyrics for Marrying Me?
Having to generate a lot of material very quickly was sometimes challenging, because I would feel like I was running out of ideas. I would look at a blank page and feel really stuck and just tell myself in 3 months, in Malaysia, this is going to be on a stage – you haven’t written it yet, but that’s happening, so you have to write it. And that helped, but it was funny because it also felt surreal and very far away. Another challenge was trying to not sound too American in my lyrics. I know there are some things that are commonplace here that sound odd in Malaysia, and vice versa, so I tried to be mindful of that, but sometimes I just didn’t know. Luckily, I had Onn and Mark, so they would tell me if something didn’t sound quite right. For example, I wrote in one lyric “50 pound dress” and Onn said we have to change that, and now it’s “10 kilo dress.” I also tried to learn from what Mark was writing and from listening to Mark, Onn and Chris talk, and incorporate that in, so I would put “lah” in – because it’s easy to sing and it rhymes with a lot, but I kept using it wrong and Onn and Mark would say “no, no, that doesn’t work,” but now I think I got the hang of it, lah.

How was it like working with the folks of Marrying Me?
I had a great time. It was really funny because for about a month and a half, Onn, Mark, Chris and I had this “WhatsApp” chat group, which is how we’d communicate. Because of the time difference I could tell what time everyone got up and started working and they always knew that about me. For example, Mark is an early riser, because it would be early evening here and I would get text messages from him before anyone else was awake responding to the things I had written at 4 in the morning Malaysia time. Then a few hours later, my phone would just explode with messages and I knew everyone was up and chatting and then I would go to bed and wake up in the morning with 50 text messages from a whole conversation the three of them had while I was asleep. And, I know that Mark and Onn also felt like they would come back to their phone and find they missed a whole conversation. Mostly it was very rewarding because I felt like I learned so much from watching everyone’s process and being involved with an arts community that is totally new to me.

What kind of experience can the audience expect when they come to see Marrying Me, especially in terms of the musical aspect of it?
I think the audience can expect to have a good time, but also to have their heartstrings tugged a bit. There are definitely some big, toe-tapping musical numbers that people will be singing when they leave, but there’s also some darker elements to the plot and that is reflected in the music. They did a teaser of the song “Superhero” and you can tell just from the little bit you hear in the video that that’s a song that goes for the heart. I don’t think anyone will get bored, there are some elements to the plot that are kind of zany, like the song “Win, Win.” We tried to structure the songs so that the energy stays high for most of the show.

Any message you’d like to give to those coming to see Marrying Me?
Give it a chance! Anytime you have a new musical, it’s a bit scary (for the audience and the writers) because nobody knows what to expect. But Chris and the cast, Stephen and Lex, the musicians, and of course Onn and Mark, everyone’s just been working so hard on the material, and I think that’s really going to show in the production. And, like with any new show, there are some parts that if you just hear about them, you might be uncertain if it will work, because it’s not a tried and true show that you are familiar with, but I think if the audience goes in with an open mind and is ready for something that hasn’t been done a hundred times, they will find something pretty exciting.

Marrying Me takes place at stage 2, penangpac @ Straits Quay (3H-3A-1, Straits Quay, Jalan Seri Tanjung Pinang, Tanjung Tokong, 10470 Penang) from 5 - 7 December 2013 @ 8.30pm and 8 December 2013 @ 3pm. For information on ticketing, check out penangpac.

Marrying Me takes place at stage 2, penangpac @ Straits Quay (3H-3A-1, Straits Quay, Jalan Seri Tanjung Pinang, Tanjung Tokong, 10470 Penang) from 5 – 7 December 2013 @ 8.30pm and 8 December 2013 @ 3pm. For information on ticketing, check out penangpac.