Asia Dance Channel

The Backstage Interview
Choy Su-Ling Chills Out with Ian Chow, Actors Studio Theatre Manager and Bilqis Hijjas, Head of Production and Creation, MyDance Alliance, Malaysia.

Ian: A space where the actor’s composition of wherever the cast can stand on and put up a show. It is equipped with proper facilities, and that includes technical equipment and all.

Ian: This stage was built based on the inspiration derived from the Kabuki Japanese Theatre. The stage that we have here is a Hanamichi choice stage, which is actually quite rare; the fact that we are in the South East Asia region makes it even more so. And besides, this is the most appropriate stage given the ‘V’-shaped columns and the huge steel metal structures in this space.

The long walk-way is one of the most feasible designs that we can have; also, bear in mind that we are working with a very limited budget, hence this is what we can afford. This is a three-sided stage and therefore we need to ‘test’ what performing art forms are most appropriate for this space.

Ian: We make do with what we have because we don’t have enough performance spaces. Beggars can’t be choosers so we just have to work with the architects and the designers to see what we can come up with.

Ian: We recycle most of the bars that we have at the old Actors Studio at Bangsar Shopping Centre. However, we also designed the grid system very similarly to the one at KLPac’s Pentas 2. But we added more lighting bars because of the catwalk.

Ian: In terms of the acoustics, let me be very honest - it is not sound proof. This used to be car park space, so in terms of weight load, there is only so much we can do to make the wall sound proof. Currently, it can only filter up to approximately 50db sound from external. The wall is actually quite thick, and we’ve put some panels in front of the sitting area which helps to push the sound evenly on both sides of the wall. The right wall is actually angled so that it will break the frequencies instead of creating echoes. The wall on the left is flat and at the back is a soft surface to absorb noise. So I guess these are just some of the acoustic treatments that we have done.

Ian: This is a very new and unique space and we don’t know what actually works. So by testing ten different shows in ten different genres, this will actually help us to identify what suits the stage. It also helps us to anticipate problems and learn how to manage them.

Ian: Sometimes, too many cooks spoil the soup. Our stage designer, Teoh Meng Jin has designed many stages. In addition, Joe and Faridah, who has been in theatre for over 20 years, gave their valuable input into the construction.

Ian: It is actually suitable for all, but it also depends on how the director manages the three-sided stage. When it comes to monologue and dialogue in Malay Theatre, they found it a little bit difficult to concentrate on all three sides, so it may not work for the particular play. For dance, some choreographers said that this is a very challenging stage.

Ian: After this test, we are going to have our official opening, followed by free shows, to introduce to the public the whole space. Then we are going to close for two weeks for maintenance. Ticketing will start in November.

Ian: Passion I guess. Yeah that is a really good question. I guess lot of it lies in passion. I really like performing arts. Even before I went full time into it, I was already singing with the Young KL Singers. I have known Joe and Faridah for long time, so when they set up KLPac, and they needed help… so here I am - for the love of it.

BH: Yes, I share in the opinion that anything can be a performance space; but the only thing is that stages are always stages, they are never anything but. A performance space, on the other hand, can be anything less or more than that.

CSL: So, what defines a stage?

BH: In terms of what defines a stage, I have very old-fashioned ideas of what I want the stage to be – they should have all the facilities and the technical abilities for one, but it must also feel like a place where people ritually come to see a performance, so the spaces itself is part of the entire experience even before the performance begins.

BH: That is a very difficult question to answer. I have not performed on many stages. In terms of the technical aspect, I am extremely lazy; I like stages that are very easy to deal with, that is very easy to set up, so that you can come in and go away like in one day. I've done lots of show at Pentas 2, KLPac, and I find that Pentas 2 is a bit difficult because it is so flexible that you do have to set up from scratch every single time and it takes a lot of time.

I’ve done lots of shows at Fonteyn Studio in PJ which is a very easy space to work with because it is incredibly limited. This space, I feel like, is a nice compromise between the two because it offers quite a lot of technical flexibility but at the same time, it seems like quite an easy space to work with. A lot of lights are already set, so you just come in and do whatever you like. This place has a much nicer backstage area. It has a cosy feel, which I really enjoy - I think all the other dancers felt that as well. You come into the space and feel like this is the place in which you really want to perform.

BH: First of all we test its limitations, which can be the main thing in our case. In my opinion, it would be very difficult to bring a piece created for another stage and put it here.

BH: It’s very cold, but we can turn off the air-conditioning, which is nice. The floor is a little hard and I’d like to say that it’s not unworkable. The backstage can get a bit tight especially when we have more than 25 performers.

BH: Yes it is! A lot of the designing was done 20 years ago. Since then, there were major refurbishments. My father (Lot10's architect) has nothing to do with the recent facelift, except perhaps, to have had introduced those pre-existing pillars. I’m sure he would have liked to know that he created artistic challenges….

ADC would like to thank Shalu for arranging the Chill Out session, Ian for doing 'time' at the studio and Bilqis for the lovely cupcakes. Chill out ended close to midnight and no photographs were taken of the panda-eyed "passion" workers for the purpose of protecting their image....