This is a riveting political thriller that had the audience listening intensely on the edge of their seats. It is an explosively powerful play looking at recent events (1988) in Malaysia that still has resonance today. It is also an examination of cultural differences and divides and a portrait of the incredibly diverse nation that is Malaysia. With COUP D’ETAT, playwright Justin Fleming (THE COBRA, BURNT PIANO) was nominated for an AWGIE and short listed for the Patrick White award.
COUP D’ETAT is set in Kuala Lumpur, the capital of Malaysia, in 1988. After receiving a letter the young king of Malaysia accuses a Supreme Court judge of treason and overturns a key constitutional ruling. Twice! The judge is declared guilty and dismissed from office after sham trials: Malaysia’s judicial system is left in shreds. While grieving over her father’s murder American lawyer Juliet Elms Morton attempts to investigate and understand the circumstances surrounding this constitutionally violent act.
What she finds is a rich world of dazzling tropical beauty, opulent pageantry and sacred ritual. It also forces her to challenge and review her beliefs about faith, Islam, sexuality and justice. It is a plea for tolerance, understanding and acceptance of diversity.
Malaysia is now predominantly inhabited by Muslims but was previously occupied by the British. The Malaysian constitution and legal system is mostly adapted and inherited from the British system -references are made to the Magna Carta for example- but the underlying Malaysian culture remains relatively traditional, and heavily influenced by Islam.
The show has a relatively small cast ( five actors plus a musician ), who under the scintillating direction of Suzanne Millar, perform brilliantly. As Juliet Elms Morton, who is also the narrator of the play, Cat Martin is magnificent. Elegant in a severe pantsuit she reveals underneath an incisive mind with a warmth and understanding and longing to know more about Malaysia and its people.
Her Australian counterpart Justice Nigel Prior is beautifully played by the very distinguished looking Donald Sword. Both he and Juliet struggle to survive in the alien world of Machiavellian Malaysian politics as they seek to fight massive injustices. Both his and Juliet’s audiences with the King are indeed like bullfights. Prior is forced to awkwardly acknowledge to the King that he is gay – but that he has come to Malaysia solo – and they have heated discussions about religion, human rights and other things.
Fellino Dolloso as Tun Salleh Abas, the Supreme Court judge in the middle of the crisis is excellent. We see him squashed and humiliated after his engineered dismissal, looking after his roses ( roses in this play are another symbol of Malaysia) . He is in some ways regarded as the Malaysian St.Thomas A Beckett and has strong , hidden undercurrents .We also see his struggle for justice, a proper functioning constitution and human rights. His symbolic un/dressing of his judge’s robes has echoes in a way of the similar scene with the Pope in Brecht’s LIFE OF GALILEO.
Shingo Usami gives a very fine performance as the Yang Di Pertuan Agong (King ) resplendent in black and gold. Headstrong, arrogant and implacable, only his way is right and he can be cruel! The character of Sofiah, (are we meant to pick up that her name is the Greek word for wisdom?), Juliet and Nigel’s official government guide and interpreter, as played by terrific Renee Lim, is used as a catalyst for discussion about Islam, feminism and broader social issues. Underneath the layers of Islam, culture and humility is a woman of hidden determination and strength.
Allin Vartan-Boghossian’s set is sparse and simple, flexible and atmospheric, dominated by a large raised playing space on which we see the rose. There are a couple of chairs and various small hand-props with some large trees in tubs to one side (representing Tun’s garden). Rabih Antonios plays traditional instruments, giving an atmospheric backdrop and creating much tension during the confrontational moments.
This is a great chance to see this excellent extremely topical and thought provoking play. There are some unexpected twists in this gripping , enthralling work that forces us to question and examine the very fabric of contemporary society. The show runs for 2 hours and 20 minutes including one interval.
Bakehouse Theatre Company’s production, well directed by Suzanne Millar, of Justin Fleming’s COUP D’ETAT opened at the Parade Theatre, NIDA, on Tuesday November 15 and runs until Saturday November 19, 2011.
© Lynne Lancaster
17th November, 2011