Ekamatra staged its first classical play in 2002 – Impian Di Tengah Musim Panas, an adaptation of A Midsummer Night’s Dream, at the former Drama Centre, at the foot of Fort Canning Hill. With The Substation and the National Library (Stamford Road) close by, it felt like an enclave for like-minded people, coming together over coffee and wanton mee at the famous S-11 coffee shop. Creative minds, young and old, coming from various disciplines and art forms, in a common bustling space. To share, to laugh, to lament. It was a community. All this before it was completely wiped out of our landscape and existence. 20 years later, here we are, staging another classic, and quite coincidentally, of the same work. 

Classics have never been our staple and we have never done a Bangsawan piece before so this commission has been a particularly delicious challenge. The work we present to you today was made possible by the absolute belief in the work that we do, powered by a spectrum of brilliant and wonderful people of a multitude of strengths and experiences, again in a common space of sharing. A community. 

Since Wayang Parsi first landed on the shores of the Malay Archipelago, Bangsawan has gone through many adaptations and permutations, and each time its identity has shifted. To struggle with the changes also means allowing and accepting the new, for it to stay relevant. From street theatre, to its golden age in big theatres, to surviving the Japanese Occupation, to its inclusion on television and radio, Bangsawan has managed to find its way through time, each time taking on new inspirations and references that help to move it forward, championed by people who are driven by nothing else but that one thing that matters to them – belief. 

After 34 years, this year will be the first time that Ekamatra exists without a physical space. Again, the unfamiliar and the uncharted. It is important to know our identity and boundary, and how that will shift in order to embrace any form of transformation and change, while our objectives and priorities remain intact. Ekamatra will continue to strive forward. To continue building a community, for the community. The pandemic has seen us go through so many heartbreaks over the past two years. Finally, we are back here again in the physical space, reunited with our audience. We are so happy to see all of you.

“More strange than true: I never may believe
These antique fables, nor these fairy toys.
Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.” - Theseus, Act V, Scene 1.

It takes a lot of love and a tad of madness to undertake this epic journey and ladies and gentlemen, today you will bear witness to this beautiful production.

Bangsawan Gemala Malam combines my two loves: Bangsawan, a classic Malay theatrical artform, and the magical world of William Shakepeare’s plays.

The comedy, A Midsummer Night’s Dream, is a play that’s truly close to my heart. For my first foray into theatre, at 17, I played the role of Moth, one of the fairies. Yes, here in this Victoria Theatre.

Through the years, in so many productions of AMNDs later, I have played the roles of Hippolyta, Titania and even, a heavily pregnant Snout the Tinker (oh sweet wall!).

At 24, I worked on a Bangsawan revival project with Teater Kami. I acted as a Rasaksa called Maha Dewi and became the Extra Turn singer on Indera Bangsawan, also done here in Victoria Theatre.

Fast forward to 2022, for the Singapore International Festival of Arts, the worlds of Bangsawan and A Midsummer Night’s Dream will collide at the Victoria Theatre and this time, I have been blessed with an amazing acting ensemble, made up of the best Malay talents now in Singapore! What joy it is to be working with talented collaborators from Malaysia, Indonesia and of course, Singapore!

I wish to thank SIFA and Teater Ekamatra for this wonderful opportunity to make a work that is truly “magical”! Have a joyous time dreaming, good friends!