http://www.youtube.com/watch?feature=player_embedded&v=XEu68H5uWlU
Yale World Fellow Huzir Sulaiman (formerly of Malaysia and now Singapore) works across different media, art forms, and genres, telling stories that allow people to access complex ideas in simple, personal, human ways. He is the Creative Director of Studio Wong Huzir, a brand communications consultancy, and a Joint Artistic Director of Checkpoint Theatre, which the Financial Times (UK) called "a repository of much of [Singapore's] best stage talent."
A celebrated playwright, his plays include the internationally acclaimed satire Atomic Jaya (1998), which asks what would happen if Malaysia decided to build an atomic bomb, and the forthcoming The Weight of Silk on Skin (August 2011), a meditation on women, beauty, love and loss.
Sulaiman also writes for film, television and newspapers, and teaches playwriting at the National University of Singapore. As a brand communications consultant, he has worked as the Creative Director of the observation deck on the 124th floor of the Burj Khalifa, the world's tallest building, and recently completed a book on the history of Temasek Holdings, the USD147billion investment firm owned by the Singapore government.
hat follows is a book review I wrote for kakiseni.com in December 2002...
8 BRILLIANT PLAYS IN 4 TUMULTUOUS YEARS
Antares accords Eight Plays by Huzir Sulaiman a vertical ovation
Huzir Sulaiman must be sick and tired of being called precocious, an enfant terrible, a veritable prodigy. But that’s only because people believe him when he says he was born in 1973. After reading his recently published Eight Plays, I’m convinced that Huzir must be at least several years my senior and ready to withdraw his EPF money.
Either that or he’s suffering from progeria - a wasting disease that grossly accelerates the aging process - because I distinctly recall acting with Huzir Sulaiman in a 1981 production called Struggles of the Naga Tribe when he claimed to be only seven. Well, even then, he seemed rather precocious - and a whole lot more approachable than the image of the enigmatic and disdainful savant he sports today.
But I’ll say this: few people I know deserve to be called “creative genius” as much as Huzir Sulaiman does, regardless of mental age or attitude towards his audiences. I have no idea what his formative years were like. I know his parents are incredibly smart (his dad was one-time president of the Bar Council, and featured prominently as a senior member of Anwar Ibrahim’s defence team) - but what books did he read, was he good at sports, did he like girls? I’m told he was a top student at Princeton, though I haven’t a clue what his major was. All I know is that Huzir returned to KL in the mid-1990s looking like a tweedy middle-aged Ivy League professor.
But, boy, could he act! He was superb in every rôle he played, even when cast as a Malaysian “Mr Bean” in a silly TV sitcom series. Then he tried his hand at directing - and the results were outstanding. Next thing I knew, this prodigious enfant terrible had churned out a slew of plays - all of them excellent, damn him!
And now Silverfishbooks have published eight of them in an affordable paperback edition. Unfortunately the laminated covers curl as soon as you begin to read. Well, one either lives with this or holds out for a hardcover edition. And this collection undoubtedly deserves a permanent place in any library. Not everyone thinks plays are good reading but in this case I found the text extremely engaging as literature, and the exercise actually forced me to change my mind about some Huzir productions I’d seen (but more about that later).
It’s true Huzir’s first play, a one-man show called Lazy Hazy Crazy, was pretty much an Instant Café Theatre revue - but without the rest of the famous cast, of which he had been a member for a season or two. It was nonetheless hilarious and wackily inspired, and established his Straits Theatre Company as a cutting edge force. The playwright decided to omit this early effort from the collection - either because he prefers the numeral 8 to 9, or perhaps he felt it didn’t quite match the elegance and sophistication of his subsequent works.
A strategic move: because his second play, Atomic Jaya, was simply explosive. No, it didn’t bomb. On the contrary, it was arguably the most scathing, timely, and intelligent satire ever seen in these parts. The first version had the incredible Jo Kukathas playing all 14 parts. It was revised and restaged three years later in Singapore with the phenomenal Claire Wong as the entire cast.
Who can resist quoting a brief exchange between Dr Mary Yuen (nuclear physicist) and General Zulkifli (who commissions her to build the first Malaysian atom bomb)?
General Zulkifli welcomes Dr Mary Yuen to the research laboratory of Syarikat Perniagaan Atomic Jaya Sdn. Bhd.
YUEN: Yes, I was confused about the sign. You mean this is a private company?
GENERAL: It’s not my decision. Everything they must privatize now. But it’s okay.
The directors of the company include seven generals and one Prime Minister’s son.
You must have Prime Minister’s son. Keep them busy. Otherwise if unemployed they will start the NGO.
Exquisite precision. Atomic Jaya had the same electrifying intensity as Stanley Kubrick’s classic Dr Strangelove or Terry Gilliam’s hyperrealistic Brazil. It was delightful to be able to read the script and be mesmerized all over again by the sparkling wit and sheer inventiveness of this brilliantly mad exposé of the psychopathology of Bolehland.
The Smell of Language - an involuted and priapic experiment in verbal synesthesia (no doubt inspired by the fractal semantic constructs of Jorge Luis Borges) struck me as one huge wank when I saw Huzir perform it - albeit a highly erudite one with serious political undertones. But as a printed text, it holds enormous appeal for anyone who takes pleasure in cunning linguistics and the ruthlessness of intellectual virtuosity.
It’s easy to see why Hip-Hopera - Huzir’s shot at writing and directing a feel-good rap musical - proved such a box-office hit, playing to packed houses for a full month. The characters are breezy and instantly likeable, the tunes lively, funky (and forgettable), but the lyrics… the lyrics are something else, check this out:
I’m a soap-box preacher, a lyrical teacher
And if you come into my theatre there’s an usher who will seat ya
And if you come into my parlour I’m sure I’m pleased to meet ya
And if you come into my bed you can see the main feature
Got a lot of philosophy that just might reach ya
Cause I dig Heidegger and Friedrich Nietszche
I need ya, I’ll feed ya, I’m never going to cheat ya
But if you lie like the President I am going to impeach ya
Genuinely capable and inventive individuals like Huzir Sulaiman are the only cure for Terminal Malaysiabolehitis. Their creative contributions rescue us from chronic cultural embarrassment or, worse, premature self-congratulations.
I regret missing Zahim Albakri’s performance of Notes on Life & Love & Painting, which received critical accolades. Reading it was truly an aesthetic experience and
further reinforced my admiration for the way Huzir Sulaiman has integrated his Ivy League education with an intrinsically Malaysian sensibility. His diatribe on the myth of artistic originality is worth framing as a poster and I feel compelled to quote a portion of it, truncated for brevity:
We have rubber trees because rubber trees were brought here from Brazil by the British. Chilli is not indigenous. Chilli was imported from South America 500 years ago. What comes from Malaysia? We buy our rice from Thailand now and our sarongs from Indonesia. Was the novel invented in Malaysia? No. Did we invent films and television? Is painting indigenous to Malaysia? No. Is abstract art an outgrowth of weaving mengkuang? Like fuck it is. So why should anybody expect me to be original? It angers me when after hundreds of years of importing aspects of other people’s culture some politician in a 4,000-ringgit Italian suit complains about Western values and such-and-such a thing is not from our culture. Our culture is everybody else’s culture. We’ve never had our own. Deal with it and grow up. Would you like some coffee? No? It’s Colombian.
He even succeeds in ending the monologue on a positive, life-affirming note. Awesome! It’s one of those wonderfully self-contained masterpieces one wishes one had written.
The neo-existentialist mood of Election Day annoyed and depressed me when I caught the play, staged as it was nine days after a bitterly disappointing election that saw business-as-usual triumph over ethical and environmental considerations. But in the ensuing years, I have come to accept that Huzir was right - the male ego’s desire to screw something terribly sexy, like an exotic woman or an entire country, transcends belief systems and underlies all acts of betrayal. However, I’m still unhappy with the way Huzir disposes of two of his characters, getting them hauled off by the cops for assaulting a police officer. Surely he could have found some way to invoke the dreaded ISA?
Those Four Sisters Fernandez represents the playwright’s exploration of his own Malayalee roots. There are many scintillating moments and memorable lines, yet the play leaves a great deal unresolved - but I suppose life’s a lot like that. As an attempt to document the collective psyche of a fascinating subculture and how it responds to change, the play carries considerable value. Nonetheless, it isn’t my favorite in the collection.
The last two plays - Occupation and Whatever That Is - have only ever been staged in Singapore. The former was commissioned by the 2002 Singapore Arts Festival while the latter was presented as part of an evening of 10-minute plays entitled Squeeze and Squeezability. Occupation is a masterful and disciplined exploration of internal puns and rhymes, and the nebulous nature of historical reconstruction. I found it a tad clinical yet strangely heartwarming. What impressed me most was Huzir’s knack of capturing the inflections of his characters’ speech in print.
If one must draw comparisons, it’s Salman Rushdie who comes to mind: I regard Rushdie as one of the most engaging contemporary writers in English, a happy and unexpected by-product of the late great British Empire, whose “native” soul fuses ecstatically with his “colonized” mind. Well, we don’t want a fatwa on Huzir’s head - but it definitely does me proud to claim dat young fler as an old friend (no pun intended). And to think he used to call me “Uncle.” This is ridiculously mature work for someone who just turned 29.
Whatever That Is reads like a miniature gem in the chic and cerebral style of Yasmina Reza (whose award-winning play, Art, was staged by Huzir’s Straits Theatre Company in June 2001). Huzir certainly knows how to play with pregnant pauses, making silence speak louder than his wonderfully crafted words.
An extremely hearty slap on the back to Silverfishbooks for making Huzir Sulaiman’s Eight Plays available in print. What an excellent public service. May it reach far and wide and redeem our pygmified intellectual self-esteem. I hope we don’t lose one of our finest creative minds to a neighboring country for lack of appreciation.
[A year after I wrote this review, Huzir Sulaiman decided to settle in Singapore, where he married Claire Wong, another former Malaysian and an absolutely superb actress.]
