SIFA On Demand: Malaysian Artists Reveal How The Theatre Industry Is Striving During This Pandemic

The annual Singapore International Arts Festival (SIFA) On Demand is back and we can all enjoy it from the comfort of our homes until 20th June 2021. One of the things that many of us have missed out on in the past year is the excitement that comes with watching live theatre and musical performances. If you’ve never watched one, then this is your chance to give it a shot to see how different it is from the regular movies and documentaries that are aired on Netflix and other streaming platforms.

In a live scenario, the combination of different sound effects, glorious lighting and the emotions of the actors on stage collectively makes the experience unforgettable. Nevertheless, this year’s SIFA is proof that no matter what, there’s always a way to make the best of our circumstances. While an on-ground event took place between 14th and 30th May 2021, the organisers have decided to continue running the event online for the benefit of everyone around the world who couldn’t attend the show thanks to travel bans and restrictions.

To celebrate the diverse, independent and singular visions from Singapore with the world, we had a chat with two Malaysian artists, Sukania Venugopal and Tan Guo Lian Sutton who were involved in the show, The Year of No Return at SIFA. Here’s what they had to say about the pandemic and how they’ve taken progressive steps to do their part to keep theatre alive.

So tell us, how have things been since the start of the Covid-19 pandemic?

Sukania Venugopal: “Although I can’t travel now, there’s still work available to do at home. I recently did a production called Unity at KLPAC which was filmed and streamed online. All other productions have been put on hold and hopefully we’ll see the light of day when the situation clears. For The Year of No Return, my part was filmed in a studio in KL which was then pieced together by the creative and technical team of The Necessary Stage with the play in Singapore. Such work isn’t affected; I just have to work along the conditions that require me to adjust with the situation that we’re facing at the moment. I do miss travelling to a new space and working with actors in person, but I’m confident that it’ll happen when this situation passes.”

Tan Guo Lian Sutton: “I tend to take it one day at a time. It’s hard to not talk about the pandemic as a foreigner without mentioning border closures. This marks the longest time I’ve been in Singapore without going home to see my parents in Penang, which has been quite hard. I also have friends in KL that I yearn to see.”

What were some of the main obstacles that you faced during this period?

TGLS: “For many of my peers, it’s been a real rollercoaster ride. When the car rattles upwards, it’s creative, hopeful and there’s inspiration and a sense of direction. But when it falls, it’s often chaotic, crippling and full of despair. Being a freelance actor was a hard-enough life before the pandemic, but now, how can we see ourselves as contributing members of the society when all we know is how to pretend to be others and tell stories that suddenly don’t feel relevant anymore? That’s why The Year of No Return was so important to me as it was my first staged production since 2019. It felt so immediate and satisfying to perform because it’s about the here and now. It’s a call to action that we all feel needs to happen.”

Taking the theatre world from a live to virtual platform must have been a drastic change for everyone, so what can people expect from virtual shows?

SV: “Personally, it was an interesting challenge. I was guided through vocal instructions from Singapore via Zoom by director, Alvin Tan, and writer, Haresh Sharma and the rest of the Singapore team in shaping and offering my performance. It’s just a matter of accepting the situation and going along with it and it was surprisingly a pleasant experience! The audience can still expect a visual treat despite the performance being online. Because we can’t perform in person, a lot has been translated to multimedia, which is being directly delivered to the audience via a screen. It has a different texture and immediacy unlike when it’s projected in theatre. Ultimately, the message remains the same. Climate change is something that affects all of us. We humans have a responsibility to treat what has been gifted to us by Mother Nature with love and care for as long as we are here on earth.”

TGLS: “I think the key is to understand that it won’t be the same and accepting that. Most people will be watching from home via their screens, and they’ll have the ability to pause, play and playback. It’s not a film, and neither is it really theatre. Haresh Sharma and copywriter, Rody Vera have done a fantastic job adapting to the fact that four out of six of our cast were overseas and filmed them as the rest of us rehearsed and reacted online. What’s great about The Year of No Return is that it acknowledges this, and dare I say, exploits the fact that borders are closed so the fictional ‘global climate change forum’ in the play had to adapt to its international speakers zooming in to the present. It speaks on the immediacy of the situation we’re in, showing that even those who feel stuck in their little bubbles are pushing to get the message out there. The very fact that we managed to finally stage this is a testament to the tenacity of the message itself – the fight for change!”

What advice would you give fresh theatre grads who have yet to put their skills to good use ever since the pandemic started?

SV: “I must say, the pandemic has been very tough on the Malaysian theatre industry but I think our artists are a resilient bunch and will emerge stronger from this. I hope the young and fresh theatre grads keep that in mind so that they can continue their creative journeys with hope. Embrace, love and enjoy the process and all else will fall into place.”

TGL: “My advice is to not wait for things to get better and for the theatres to open. Start creating now and connect with other artists online. Read, write, arm yourself with knowledge and keep practising. As actors, we’re often left waiting for someone to say yes to us before we can work. Say yes to yourself first. You’re not alone in this; find others and start creating. Always push for curiosity. When you feel lost or defeated, look for curiosity, chase it and try to catch it. I find that I’m never far from inspiration and action if I keep pushing myself to be curious!”

Based on everything that’s happening around the world now, what’s the one message you’d like to convey to everyone out there?

SV: “Treat nature with dignity and respect, and everything will fall into place and we will not be our own worst enemy.”

TGL: “My favourite line in the play is by Marco Viaña from the Philippines, when his character Louis says to Su: ‘Your decision, my decision… won’t probably change things. But my question is not will things change? My question is does this feel right?’ Start from ‘does this feel right?’ Keep connected with others, talk to your friends and family. We’re losing so many people around us to a mental health trauma as a result of this pandemic. Many of us are falling through the cracks. Does this feel right? Stay six feet apart but find ways to keep in touch with people around you.”

Tickets for SIFA On Demand are priced at S$35 (about RM110) for access to seven films and S$60 (about RM190) for access to all 17 films online. For more information, visit sifa.sg.

Photography: Tuckys Photography