Sinkholes, Street Theatre, and Encounters: Theatresauce Takes Malaysian Theatre to Chiang Mai

(This blog is written with contributions from Theatresauce.)

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That's how it all began — how the group came to represent Theatresauce, and Malaysia at the Asian Youth Theatre Festival 2024. They had been casually chatting about it, but when it actually happened, it felt so sudden. Dexter Zhen, Jazzie Lee Jin Jye, Tharanii Karthigesu, and Mia Sabrina Mahadir: Malaysia’s representatives at an international youth theatre festival.

Theatresauce performing Beware: Si Oompur Lumpur at Tha Phae Gate, Chiang Mai. Photo by COZOMIA Performing Arts Archive

Jazzie who has been the poster and multimedia designer for Theatresauce for a couple of years now, shares how she came to be part of the team, representing not only Malaysia, but the Malaysian spirit:

I was just a random girl who spawns at random productions for some side quests. I never really thought much about myself other than accepting opportunities that were coming my way. On May 1st, midnight 3am, I received a call from Theatresauce founder and now former artistic director Kelvin Wong: “Hello, this is urgent, because this involves an international residency.” Next thing I know, it’s June 18th and I was on the plane on the way to Bali, Indonesia. On my own.

I had a blast in Bali! The residency was facilitated by Gigi Art of Dance. We attended a series of workshops and learned a lot about modernised traditional theatre practices such as puppetry and gamelan, how to break boundaries and appreciate culture. And the other participants? They were the ones who made the trip for me. They all gave me a sense of familiarity even though we have just met for the first time. Maybe it’s the shared passion, maybe they reminded me of people I admire. One thing for sure is that their energy is contagious.

Towards the end of the trip, only then did I find out about the festival planned for November, following the residency. That’s when I was asked to put together a team to bring a performance to Chiang Mai, Thailand.

The Play

The team had been given the option to stage a performance either on stage or in the streets (Tha Phae Gate), based on the theme, “Changing Climate.” Coming up with the title “Beware: Si Oompur Lumpur”, and basing the performance on the recent sinkhole that happened in Masjid India, they wanted the performance to talk about overdevelopment and the shifting sense of safety amongst citizens — and of course, a street performance was perfect.

According to Dexter, the four had all worked together on different productions in various roles before. Their shared collaborative background allowed them to bring their individual strengths into the process and support each other. With Mia taking on the role of director, they collaboratively devised the piece, incorporating satire and experimental movement to juxtapose the impacts of these issues on everyday Malaysians. They also emphasised Malaysian identity through elements such as actors using commonly spoken Malaysian languages, costume designs representing different ethnic groups, sound design, props and materials rooted in the Malaysian identity. 

On the preparations and rehearsing of the performance, Tharanii had this to say:

There were rehearsals where I drew a complete blank, staring at the clock ticking away and the objects I had chosen for the day’s 2 minute devising showcase (a black cloth and a fan). I kept thinking what I have planned or thought of wouldn’t be good enough or it’s not complete. Then Mia gives us the five minute notice and I start panic-moving and leave the other half to improvisation. Those were the moments I found myself truly feeling free, having no choice but to commit.

In Jazzie’s words:

We had a huge “sinkhole” prop to build once we arrived in Chiang Mai. We contacted Lanyim Theatre in advance, the facilitator from Thailand for this year’s festival, to borrow a hula hoop and a huge bag of recyclable trash. I was worried that due to miscommunication or something lost in translation we won’t be getting enough of what we need. However, when we arrived, we received a super huge hula hoop and multiple bags of recyclable trash, fully filled. My jaw was on the floor, those were more than enough. We collected these items from the festival site, Chiang Mai College of Dramatic Arts, and carried them back to the Cooper Hostel. 

We unloaded at the common area, and began cutting and tying things together. I felt genuinely proud that we were building this together. Participants from other countries will pass by every now and then and peeked at what we were making, curious and trying to guess what the prop represented.

Jazzie working on the “sinkhole”.

On the performance, Dexter thought it was refreshing to connect with artists from different parts of Asia who watched their performance. Each audience member seemed to resonate with different aspects of their piece. Some were drawn to the humor of the property agents passionately selling new developments while covering up fake news about environmental issues. Others were captivated by the experimental movements, like a character drowning in trash and water. Many appreciated the costumes and prop designs—thanks to Jazzie’s magic!

In experiencing the thrill of bringing Malaysia abroad, performing in an unfamiliar space, in an unfamiliar environment, Jazzie said:

As I got into position, head down, waiting for the cue to start, the familiar nerves kicked in. The music began. I moved, swayed, and performed. Then I turned around, and there they were. A lot of them. Our peers, cheering, taking pictures, fully engaged with our story. That’s what I truly love about the people of AYTF. They are endlessly supportive, generous, and steadfast in showing up for their fellow theatermakers.

Mia made some observations about their performance and the differences in theatremaking techniques from other Asian countries:

I think we did good, everybody seemed to be engaged, and we got our message across. I noticed that experimental pieces were not a common thing in the festival, so many participants did come up to us to ask about our process and meanings. I’m proud of myself for pulling through this festival, it being my first international performance ever.

The team performing Beware: Si Oompur Lumpur! (Left to right) Tharanii Karthigesu, Jazzie Lee Jin Jye, Dexter Zhen. Photo by COZOMIA Performing Arts Archive

The Workshops, The Sights, The Experience 

The team conducted two workshops at the festival — one for the youth and another for the participants of the festival. These workshops focused on devising theatre tools they had learned from working with Theatresauce.

There were also workshops by other teams, showcasing unique theatrical styles and artistry of their countries. According to Dexter:

While this approach felt familiar to us, it was exciting to see how it introduced a fresh perspective to participants from other countries, some of whom were more accustomed to traditional plays, sketches, musicals, or dance.

Attending workshops led by facilitators from different countries was both humbling and inspiring. There was no judgment—just kindness and patience. The variety was remarkable, ranging from Singapore's community-driven voice workshop to a drama therapy session by Moka Vasiliki, a drama therapist from Greece, which used rocks, paper, and scissors to explore and embrace our current state and well-being.

We also experienced Japan’s integration of haiku and seasonal changes into various dance genres, as well as Indonesia's Gigi Art of Dance, which introduced innovative choreography techniques that played with contrasting speed and rhythm. While some workshops shared similarities with methods familiar to Malaysian theatre practitioners—reminding us of the connections that tie us together as part of the Asian community—others challenged us to explore entirely new approaches to creating art.

The Theatresauce AYTF Team running a theatre devising workshop for the other festival participants. (Left to right) Tharanii Karthigesu (seated), Jazzie Lee Jin Jye, Dexter Zhen, and Mia Sabrina Mahadir. Photo by Buds Theatre Company

They also observed the practices and performances of the other participants. Tharanii observed:

There was a constant buzz every night as participants prepared for their upcoming showcase the next day. I’d catch glimpses of them practicing in the hostel foyer. A few cartwheels at one corner followed by errant singing caught through the breeze, groups huddled around small coffee tables engaged in spirited conversations. It was wonderous seeing everything they’ve prepared come together on stage. 

Every group had a unique approach to storytelling and theatre. There were groups that addressed climate issues head on while others had taken a metaphorical sense. Some of the most beautiful scenes and images I had seen from a performance during the festival - I later found from the artist- were left to improvisation on the day of. It was a performance called ‘Dear Sons’ by the host group, Lanyim Theatre. A gleaming silver plate reflecting light across the theatre walls, a cloth flowing in ripples from the mother to her son and the sound of a lone violin carrying the weight of greed caused by his actions. Those were a few of the images I still vividly recall. 

Jazzie reflected upon the experience, and the exchange, and said:

Each group and organization brought their own expertise to the table, offering fresh perspectives for the 4 of us to learn from. Initially, we thought, aiya, devised theatre, it’s nothing special lah. It’s something we often take for granted. But to our surprise, people kept approaching us, curious about our process as devised theatremakers. It was humbling and inspiring to see how much interest and respect there was for the way we create.

Throughout the festival, everyone from different parts of Asia watched shows together, attended each other's workshops, peeked into each other’s rehearsals, every conversation felt meaningful. Everyone was eager to share and to listen, the vibes were: genuine exchange.

I used to believe there was an unspoken rule in theatremaking, a certain way things were meant to be perceived. But after the festival, I realized that my reaction to something, whatever it may be, is the most genuine reflection of how I feel. I don’t have to force myself to see things the way I think others expect me to. It’s hard to explain, but there’s a sense of freedom in embracing my own perspective.

It’s also worth mentioning that just weeks before the festival, Chiang Mai had faced a flood, and Lanyim Theatre, being the facilitator of this year’s festival, had to juggle the aftermath of a natural disaster while ensuring the festival could still go on. I really respect that they carried on with such resilience and generosity. Looking around I could see that bits and pieces they try to recover since the flood. Seeing how they held space for themselves and others, both in the art and in their struggles, made the night feel even more meaningful. In that moment, I felt privileged to be there. To witness, to listen, and to understand.

The AYTF Team will be sharing more about their experiences at the upcoming event Lessons From Abroad. The event is a Theatresauce initiative to gather arts practitioners and theatre makers who went abroad and/or worked overseas in 2024. The session is a space for them to share their lessons, insights and knowledge gained from these overseas experiences.