With three other performances simultaneously being performed on the same night, Fajar Menyingsing was perhaps the only performance being staged in a small arena with Gentarasa in NUS UCC and Rewang Nak Tari at the bigger performance space in TRCC.

Not to be outdone, the hallway was filled with members of the audience waiting patiently to catch this bi-annual performance. Once inside and with the arrival of the GOH, Dr Mohamad Maliki Osman, Fajar Menyingsing rolled off with two dance performances.

The first, a modern zapin dance by Republic Polytechnic’s, Dharma Dancers, entitled ‘Kepak Sayap Berzapin’ and the other, a modern contemporary dance by NTU/ NIE’s, Beztari dancers, entitled ‘Rintihan’.  With the end of the dance performances and with a very fresh idea, the set was moved on stage in full view of the audience masked as a performance, getting all the cast and crew involved giving the audience a short preview of what would have gone on behind the scenes and backstage.

The show opened proper with a monologue introduction by Ashraf, whom I later discovered played a very pivotal role towards how the stories fell into place.

The story began with two brothers, Ashraf and Imran, hiking Gunung Ledang where they bumped into four ladies; Camelia, Maisara, Suzana and Aaliyah  who suffered an injury during the hike. In typical fairy tale fashion, an exchange of emotional attraction ensued between Imran and Aaliyah from that encounter which formed the crux of the entire show.

As the set changed over the scenes, I couldn’t help but notice the uncanny similarity in the clever use and adaptation of the mountain prop with Puteri Gunung Ledang, The Musical. This clever use for most of the scene changes throughout the performances not only cut down on transition period between scenes but also minimized unnecessary noise that would have been evident had the set been needed to constantly be shifted in and out of the stage.

Several other props were also well concealed behind this fairly huge set.  Monologue scenes performed by Ashraf were interjected after certain scenes which engaged the audience to critically think, analyze and reflect their own actions in relation to the real world with how as part of the community at large, treat characters like Imran who has a body covered in tattoos and also an ex-convict.

Staged to serve a moral purpose, Fajar Menyingsing also addressed the gap in today’s society in the heated relationship in stature between Aaliyah’s richer and educated family; Aidil (the evil brother), Puan Salbiah (status obsessed mom) and
Tuan Rahim (a rich man with a humble beginning) with Imran’s poorer family; Ashraf (the supportive and encouraging brother) and Cik Maznah (simple life mother).

This relationship in gap between stature was clearly depicted with how the individual houses were designed and decorated. Aaliyah’s house had teak wood furniture with an elaborately designed wall whilst Imran’s house was a wooden house with really plain looking wooden sofa.

This was the only drawback and and shortcoming as I later discovered that Imran’s wooden house was actually supposed to be a flat unit in a block. An oversight perhaps but this was just
a really minor disappointment which was staring to the audiences throughout the entire show simply because it was part of the stage.

As the show proceeded, with the disapproval of Aaliyah’s and Imran’s relationship by Aaliyah’s family, a short introduction of the maid, Bibik Jum (Nazerah) provided me with information that Aaliyah had a much deeper relationship wih the maid and this was only potrayed much later in the show when Bibik Jum came to Aaliyah’s failed attempt at suicide and shared her own sad love story which eventually led her to Singapore to earn a living.

Several other uses of props were as realistic as it gets with a real caged bird used as prop and characters smoking cigarette and pipe as well as drinking bottled ‘liquour’ on stage. This use of props was indeed a huge risk to take but I applaud the director’s guts as the smell of the cigarette and pipe, though a tad unpleasant, definitely caught the audience attention. The story, for most parts of it was extremely emotional and moved me close to tears as the performers were feeling a little bit emotionally held back in their characters. I would have teared had the performers managed to invoke that emotion out.

Sound and lighting were as simple as it could get but simplicity was definitely much appreciated.  There were no extensive changes in lighting and there was only one minor glitch in the sound which is forgivable. The performers had really good vocal projection even with their backs turned and were really into their character and emotions as they displayed good facial and body expression according to how their characters deemed them fit. The cast were definitely better than some I’ve seen on television.  The performance with a well written script though, could have perhaps been more positively inclined as I left feeling sad with the demise of Imran. I would have loved to see how the two families managed to bridge the gap between stature for a more positive ending but nonetheless, this was definitely one show that moved many in the audience to tears.

Congratulations to PERBAYU and the cast and crew of Awallah Dondang, Fajar Menyingsing 2010 for a job well done!

I’d give this show 4 out of 5 for moving me close to tears, clever use of props, excellent lights and sounds and for great script and art direction all around. The missing point is just for the minor glitches already mentioned. For those who missed out on this performance, I hope you had a great time being entertained at the other performing venues.

Contributed by Abdillah Zamzuri
Abdillah Zamzuri is a theatre activist and an advisor to Sang Singa Purba Performing Arts Group, Singapore Polytechnic. Trained in both English and Malay theatre, he has performed, scripted and directed several performances both locally and regionally. Abdillah Zamzuri has also been a judge for the Inter-Racial, Inter-Religious Harmony Nite 2009 and had also performed for the same event in both 2008 and 2009, graced by His Excellency, President S.R Nathan. Most recently, he was a judge at National Junior College’s inaugural Malay Skit Competition alongside Nadiputra and Andry Sani.
http://abdillahzamzuri.wordpress.com