Front Row

A musical-theatre training and education centre is restaging ‘Avenue Q’.  Two performers and the voice coach not only provides some singing on-air but discuss the adaptations to this American musical to make it more relevant to and relatable for a Malaysian audience. Beyond that how the company is staging this musical in a rather tight space.

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This nascent musical organization--the Philharmonic Winds of Malaysia--is staging its second show since its recent stepping out and Front Row has invited its representatives to share more about the birth and anticipated growth.  They also explain why musicians need to perform and to be part of a larger group of other musicians.  

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The second (and larger) half of the 2016-2017 season kicks off the new year in a big way. In staging Mozart’s  ‘The Magic Flute’, the programmers have brought in a large cast which includes both local and  international singers, an ensemble chorus and, of course, the Malaysian Philharmonic Orchestra. The Stage Director and lead tenor, Steve Davislim; and Chi Hoe Mak share to give us a sneak peek.

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So rarely is this instrument featured; and the corresponding corollary: so rare to feature a harpist.  We learn from the Moscow-trained musician a brief history, evolution, the appeal and the availability of music written specifically for this ‘feminine-looking’ musical instrument. She tells the story--and I think there is a  moral here for all young people learning to play a musical instrument--about her own conversion to the harp. Her first love was the piano.

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The performance-trainer (who himself trained under Keith Johnstone) and mask maker explains that a well-made mask has a life of its own, shaping a performer’s energy and prompting the performer what to do. With skill and technique, the performer then gives shape and clarity to this energy. Because of this relationship, mask making in a facilitated workshop allows for discovery and experimentation that cannot be found in an art class. Mask-making is not merely about the technical aspects, more so for the practicing actor. Simone previously spoke on Front Row in 2015, you can listen to the full interview here.

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The orchestra is ushering in its season with a big bang.  The musician, Tchaikovsky’s most famous works will be showcased, among these include the 1812 Overture which was written in 1880 to commemorate Russia’s defense of its motherland against Napoleon’s invading Grande Armée. A time to find out what the orchestra will use for cannons to create the the wartime atmosphere.

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The organizer and the former winner talk jazz and about the growing popularity of this genre of music which is finding more venues in the Klang Valley. This year’s festival and competition looks to bring in some new programmes and clinics geared towards a younger audience.  Non-jazz pianists, like Az Samad, a guitarist will be involved in this festival.

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For the holiday season, our producers have rounded up folks we have interviewed on Front Row and who make music, to sing and play on the show. Christmas cheer from the Bigger Picture with a lot of help from the singers and musicians, and our BFM sound engineers.

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The curators share about a group exhibition by artists--some from Indonesia, the Philippines and Malaysia among others--on the topic of migrant labour. They provide narratives not necessarily explored in mainstream media. Both private and public implications of this labour force which crosses borders are explored.

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The director, who is also an award-winning actor, a dramaturg and a writer, tells about Shakespeare and the company of players she is involved with in Melbourne. She shares about her interest in Katherine and the ‘problem’ in the closing scene of the play and then segues into a discussion on ‘Tales of a City by the Sea’ which is written by Australian, Samah Sabawi.  This play caused some controversy in Victoria, Australia.

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