'Melur the Musical' Explores The Fears of Society Through Magical Realism
Art, particularly theatre, is both affective and immersive. It welcomes one into a world otherwise unknown or impossible; ultimately, this is what Shafeeq Shajahan, founder of Liver and Lung Productions, loves about the form.
“Theatre leverages your imagination to advance a story,” he pointed out.
One may notice that of the many plays and productions he has produced, magical realism remains a reliable theme. From the escapist fantasies of “Kiss of the Spider Woman” to the apocalyptic landscape of “Frankenstein 2039,” Liver & Lung mesmerizes its audience through fantastic scenarios that still somehow feel relatable. Its most recent production is no exception.
“Melur the Musical” brings horror to the stage as it recounts the story of a Pontianak, a dangerous female spirit or deity who passed during childbirth or while pregnant. Set against the backdrop of Colonial Malaya during the Malayan Emergency, “Melur the Musical” takes on themes of brutality, war, and revenge. It also tackles femininity and the role of women in society.
In fact, the Pontianak is none other than Melur herself, who was murdered by the British High Commissioner. In the story, her femininity is stripped away by the brutality that is handed to her; Shafeeq’s interpretation of her transformation reveals the anxieties that conservative Asian cultures may have about women.
“If you want to make people really, really frightened and really, really uncomfortable, you need to understand their general anxieties and their truths,” shared Shafeeq. “If you look at stories in London like ‘Jack the Ripper’ for example, there’s a lot of fear surrounding villains inside the city. That tells you that British society is very threatened by itself, by the machinery of the city. With Malaysian and Asian storytelling in general, you’ll notice that a lot of it is about the woman.”
Shafeeq’s inquisitive observations about society are ultimately what give his stories so much depth. Everything has meaning for the young director and founder, which is probably why much of his stories focus on a culture that might otherwise be overlooked on the Western stage. In fact, the name “Liver and Lung” also stems from Shafeeq’s understanding and experience of emotion.
“Liver and lung are two organs that I think are very close to honest storytelling,” he explained. “When I was 19, I was sitting on my bed and I was very aware of how my body was responding to the emotions of an angsty teenager. My lungs were full of air and I felt this pain in my stomach, near where my liver is.”
Shafeeq also explained that during the Victorian times, the liver was thought to be the seat of emotions. In Malay, people also always say “I love you with all my hati,” which means liver.
Now based in London, Shafeeq gives a nod to his Asian roots through a constant meditation on the concept of home: “I was born in Malaysia, and in the Malaysian national anthem one of the lines [is] ‘my blood has spilled on the land,’ which one may think is a symbol of military success. But what I think it means is that [here] is where you were born; your mother’s blood has spilt on the land, and you have a deep connection with the soil that bred you.”
While Shafeeq shows an obvious affinity for his native Malaysia, the young artist acknowledges that not everything is easy about it. For one, he’s had to contend with how to balance his liberal outlook with the country’s conservative culture.
“I’m a Malaysian-Muslim artist that is liberal with liberal values and sometimes there's a bit of tension between my beliefs and my identity,” he acknowledged.
Having had to contend with the seeming finality of having to choose, Shafeeq came to the conclusion that “there is beauty in mutual exclusivity, and you can be one and many things.”
“I am Muslim and I am liberal but I am myself, and I am one. The societies and structures that tell you to pick and choose are probably not the [best] societies for you. If you’re privileged, you should leave,” he said.
But despite his decision to leave Malaysia, Shafeeq remains connected to his native country through his art, paying homage to native stories of home. He’s come to realize the importance of accessible art, especially for audiences who have yet to experience its joys.
“What I’ve found as a supplier of theatre in Malaysia is that a lot of my job is educating people and making people understand what theatre is. It is [our] responsibility as an artist to pick the right propositions to enter the market with [and share important stories],” he added.
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