There's a very bad pun hidden in that title for those of you who want to vocalise it and mispronounce it. But that's not the topic of this post.
I mentioned in a previous post that my living quarters in a grad student dorm force me to look at opportunities in the larger community for entertainment. For example, on sunday evening, and for the firts time in positiviely ages, I went to see a movie: Tinker, Tailor, Soldier, Spy. It's a very good movie. I thought the dénouement happened a bit suddenly but that's a minor quibble. I also found it difficult not to think back to the BBC TV production. But this too is not the reason for this post.
No, the prime reason for this post is to praise a wonderful production of a Sumatran Randai called The Genteel Sabai by the University of Hawaii's Department of Theatre and Dance.
Randai is a traditional folk dance-drama from the Minang region of West Sumatra. It is based on well-known folk tales, local musical traditions, and martial arts. Dialogue, songs, instrumental music, percussion, and dance are interwoven in the performane. The dancers move around in a circle, practicing and executing the moves of the martial art known as silek. By moving in a circle, the students learn by observation. One of the dancers (and it changed throughout) leads the dance with vocal cues. The dancers also wear special pants which, when stratched, allow them to beat their hands creating a percussive sound that is quite dramatic when done in concert.
Interspersed between the dancer elements are recitatives wherein actors (some of them also dancers) portrayed the characters in a morality story telling it largely in rhyme. In addition, some singers would also recite the story (both in English and in the Minang language). I found it difficult to follow the words when chanted as my attention was usually focused on the dancers.
The story in this play is that of Sabai, a genteel and beautiful young woman. One day, she catches the eye of King Rajo nan Panjang, ruler of the land but from a distant village. Despite having many wives already, he desires Sabai and what he desires...he gets...usually. But a marriage proposal from the King is rejected as Sabai is already engaged to another man. The King is not pleased and sends for her father. When he arrives, he is challenged to a duel during which the King, with the aid of two servants, kills the father.
Sabai finds her dying father and comforts him. The King arrives and attempts to seduce Sabai. She defends herself and, in the end, kills the King. She is no longer the genteel Sabai.
The level of performance was very good. The mastery of timing displayed by the dancers was exceptional. Just to get all that movement choregraphed and synchronised was astoninshing. There may have been an occasional bobble but you could see why it took 6 months to prepare this show. The Kings henchmen were played with a definite comical twist reminiscent, perhaps, of Rosenkrantz and Guildenstern or, Thompson and Thomson for those Tintin afficionados. The actos playing Sabai's parents were both very good. Alas, the actor in the role of Sabai was disappointing. Her vocal delivery seemed rather monotone and shrill, to me. She didn't become the role. This was more obvious, perhaps, because the actor who played the King was oustanding. His mannerisms, eye contact with the audience, vocal delivery were convincing. He looked and sounded every bit the playboy king.
The production has ended its all too brief run but I'm really pleased I took advantage of the opportunity to see this art form that was totally new to me and is one that I would never have learned about, much less seen had I not come here at this time.
ADDENDUM
Read this for a more detailed and informative review.
Comments