#10TahunRS: Here’s To 10 Years of Revolution Stage In Malaysian Theatre!
ESTABLISHED in 2006 as a platform for performing arts graduates in need of a place to put their hard-earned craft to use, Revolution Stage has lasted a full decade.
“Our aim was to have Revolution Stage become a pool of talent for producers to scout new talent,” explains founder Khairunazwan Rodzy, “whether for film or for mainstream theatre. We wanted to help local talent find work related to their ambition and field of expertise.”
“Though we’ve still got some way to go, looking back now some of the people we’ve put forward in our earliest shows have since gone on to become successful industry players.”
Referring to key individuals in theatre and film such as actor Amerul Affendi, multi-disciplinary artist Ayam Fared and scenographer Yusman Mokhtar, Khairunazwan is very proud of those who have worked with Revolution Stage in their ten years.
Asrama-ra All-stars brought nine popular talents from film, television and music onto the stage.
In conjunction with their theatre decennial, The Daily Seni secured both Khairunazwan and core member Arshad Adam for a chat about Revolution Stage’s time in the local theatre scene.
Both men claim that not too much has changed in the landscape since Revolution Stage’s humble beginnings, but they also acknowledge the growing spirit and sense of community among alternative theatre-makers.
Khairunazwan Rodzy leads Revolution Stage.
“People are more supportive these days,” states Arshad, “you don’t see this as much back in the days. We’ve grown more aware of one another and are keener on collaborations.”
At present, there are plans for alternative theatre directors such as Nam Ron, Fasyali Fadzly and Khairunazwan himself to form a collective. Currently in its early stages, the agglomeration could result in better coordination among indie theatre companies.
Revolution Stage as a troupe meanwhile have shown clear progress.
From initial days spent securing the trust of audiences and prospective performers through mini-performances and classes, they’ve now become one of few big names in local Malay-language theatre.
A Brief History of Revolution Stage (2006 – 2011)
Back To The Present
Revolution Stage has clear focus on education this year, with an array of workshops and courses for those interested in theatre. These classes will run from February all the way to December and cover many disciplines. All of them go for a fee of RM80 per month, bar music lessons which cost RM120.
“We want to serve as a sort of academy by serving the community with knowledge on theatre. At the same time, we’re planning for theatre festivals and have a couple of projects in progress. Ideally, we’d also like to restage all of our previous works,” explains Arshad.
“Our focus at present is to throwback and reminisce, as well as bring back indie theatre on an even bigger scale.”
Revolution Stage will not be restaging their catalogue of twelve plays this year, but they do have something else altogether happening from February onwards.
Brand new initiative Projek Bilik Sempit is set to bring audiences into the comforts of their humble studio in Dataran Pelangi Utama. The company has operated there for the past three years but is now ready to open up the space to those looking for an intimate theatre experience.
Next month will see an original monologue written by Khairunazwan and directed by Naque Ariffin titled Siput Man. The performance was first teased on Facebook — team members hinted of it by posting a drawing of a snail. Siput Man will be a full-length piece starring Han Zalini (who you may remember as director of Neeruza).
Days later, Revolution Stage’s workshoppers will be staging THISability, a script they’ve been developing during their training.
“We don’t think; we just move forward,” continues Khairunazwan. “We weren’t planning anything for our tenth anniversary, but we then we took note of Theatrethreesixty. After two years in the business, people know them and their works.”
Sudirmania saw the team playing on the prestigious Istana Budaya stage.
Local theatre company Theatrethreesixty, led by artistic director Christopher Ling, has established itself as one of the busiest at present. Despite it’s relatively small size, the company has consistently and frequently presented well-received productions.
Inspired by peers like Christopher and young theatre group Anomalist Production, Khairunazwan and the Revolution Stage team decided to push forward with their tenth anniversary programming.
But in Revolution Stage’s ten long years in Malaysian theatre, was there anything Khairunazwan would like to change?
“I’ve never regretted anything,” he speaks, matter-of-fact.
“Reading the inspirational words in your toilet, I must say that I simply don’t regret, and will continue to do what I’ve been doing.
The words he’s referring to is from a motivational poster sourced by The Daily Seni’s Bront Palarae. (Curious? Drop by our offices and have a look for yourself!)
“Sitting and waiting for something to happen won’t result in anything. You’ve just got to do and make things happen.”
Revolution Stage presents Siput Man, which runs from 11 – 14 February and 19 – 21 February, and THISability, which runs from 25 – 28 February and 3 – 6 March. Both shows form part of Projek Bilik Sempit, and will take place at 5-11, Dataran Pelangi Utama, One Avenue, Jalan Masjid, PJU 6A, 47400 Petaling Jaya, Selangor. Tickets are priced at RM15 and can be obtained via Ika ().
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