GAYA 2017: SMU’s Very Own Disney Production
Before I get started, let me just clarify that as a true blue 90s’ kid, I love all things Disney. As such, my title is meant to pay a great compliment to SMUKI’s annual production, GAYA Beludar. It is not uncommon to hear of GAYA as being inclusive, professional and an authentic ambassador of Indonesian culture. With every year that they grow and stage new plays, the team definitely finds interesting new ways to hold onto those keywords – and this year was no exception.
The opening scene set a beautiful tone that carried on throughout the play; it was rich with beautiful layers from song, dance and dialogue to set design, intricate costuming and lighting. It was not difficult to get thrown right into the world that was precisely crafted onstage, and the constant interweaving of dreams versus reality definitely seemed rather Inception-like. Although I thoroughly enjoyed the overlays of various visual and sound effects, the chaos brought in at the beginning of the plot admittedly made it tough for me to decide what to focus on.
The first couple of scenes did require a bit of adjusting to, but the moment the story’s timeline stepped into 1800s Indonesia, I was well and deeply engaged. Perhaps what helped was the sadly comical relationship between the jovial prince and his cynical bastard brother, or the prince’s vivacious musical introduction that was sweetly reminiscent of the fabulous Prince Ali.
As the plotline moved on and started drawing parallels between a Dutch-ruled Indonesian kingdom and the sad reality that is the present, the intensity of the scenes was well balanced between hilarious burns and good ol’ fashioned suspense. From diabolical plan-making to royal family drama, sweet songs of young love and a vicious slap that the audience went gaga over, the production hit various peaks of both story-telling and entertainment. It’s worth a mention that all of their lyrics and musical scores were original, and that the performers were singing live onstage whilst dancing and acting, which upgraded the show from Disney to Disney on Ice.
As an avid theatre buff myself, I really appreciated the fact that the producers and artistic directors had the good sense to maximise the fantastic venue (and budget) that they had procured. Held again at the National Library Drama Centre, the team found innovative ways to use layers of translucent built-in screens to create impactful visuals, subtle transitions and as such, created a sense of professionalism. Regardless, what really took the cake for me was the lighting of the whole show. Not only was the coloured lighting imperative in creating the according moods, it was also used to give actions (such as gunshots, stabbings and big revelations) a second sensory dimension. So kudos to the lighting designer they hired, Clement Chong – if only every arts club in SMU could afford such services. (Hint hint, OSL.)
I again bring up the point that the play really hit some very intense moments, which were written and executed fantastically. But the audience’s reception to such scenes was rather… disappointing. I don’t know if the GAYA team will agree with me, but I was quite put off when a large number of the audience started laughing at various serious moments, or when there was just plain silence. Of course, to do so is not considered ‘rude’ per se, but I personally feel that this speaks about the maturity of theatre audiences. It is not simply about the crowd that attended GAYA 2017, but this seems to be a semi-reflection of our society – perhaps it’s because we don’t have enough exposure to (and thereby, appreciation of) the performing arts?
Although this year’s theme of realising the value of true love was entirely different from last year’s one of realising patriotism, there was a gentle sense of continuity whereby the Indonesian culture and history were strongly resonated with. It was heartening to see a large number of non-Indonesian cast members and performers reciting Bahasa with such genuineness, and to see SMUKI successfully raising awareness of their culture.
GAYA 2017, much like its direct predecessor, had some elements of marrying combat and dance, which not only propagated some level of cohesion, but also emphasised on the warrior spirit of the Indonesians. Even though this may not be something that everyone can relate to, the strong sense of conviction that was conveyed would have hit every playgoer in one way or another. It is often said that if you can touch even one person that experiences your art with you, then you have done that art justice.
To quote from the play itself, “I gave myself to something I believed in.” SMUKI, you seem to do that every year with your productions. Kudos to every single one of you.