Being a complete "freshie" in the area of reporting, interviewing and the what-not's of journalism, I was more than a tad overwhelmed at the prospect of being in such close proximity to acclaimed director U-Wei Haji Saari and a couple of Malaysia's finest performers such as Vanidah Imran, Khir Rahman and Khalid Salleh.

But then again, how many 20-year olds are given the opportunity to mingle with the brightest and most talented of the Malaysian performing arts scene?

Wangi Jadi Saksi , the theatrical comeback of local indie film director, U-Wei, boasts an all-star cast, and the play recently launched the opening of the new RM 50 million auditorium at Dewan Bahasa dan Pustaka.

Not the first

Oddly enough, U-Wei's last theatre production was way back in 1997, when he directed the critically acclaimed "Bakai". His latest feature film, 'My Beautiful Rambutan Tree in Tanjung Rambutan' premiered at the Cannes Directors Fortnight two months ago.

Teaming up with production company LebrocquyFraser Production, who produced the Golden Globe winning "Osama", "Wangi Jadi Saksi" is the story of Hang Jebat's final moments, as told through the eyes of his young widow Dang Wangi, as she confronts those accountable for her husband's fatality. Through flashbacks and forwards, Jebat's confrontations with his comrades and nemesis are revealed.

So why back to theatre after nine years?

"One of the things I like to do is write. I just keep writing and Wangi Jadi Saksi is one the scripts I have never gotten to put up. I envisioned this piece to be put up on stage when I wrote it. Doing theatre is an immense job, but after all, men are only interesting when they work," U Wei said.

When asked about his comment (in the press statement) that Wangi Jadi Saksi is a somewhat different interpretation of history, U-Wei pointed out that history is frequently open to speculation.

What is the truth?

"This piece is loosely based on two books- Sejarah Melayu and Hikayat Hang Tuah. In the two books there's a small part that has always made me very curious, namely, the scene where Tuah arrives back in Malacca after a voyage and confronts Jebat on his alleged betrayal of the King. See, the reader is unsure what exactly is transpires in the room. Are they talking? Fighting? Many things have been said about that scene."

U-Wei noted that despite the fact that particular scene represents the core of the play, it was an ensemble piece, with Wangi playing as much of a role as Jebat and Tuah.

"In Malay literature, women have always been the silent ones. Now, I have given Wangi a voice. This play is set through a women's point of view."

So since there was only one scene in the play, what exactly was the plot of the piece?

"There is no plot. The ending of the play is common knowledge. Hang Jebat dies. This is a character-driven piece. What I'm interested in, is studying the characters. My films have always involved insignificant people, small people. This is a big piece to handle as it's probably the most popular story in Malay Literature."

The title of the play was inspired by the role of courtesans in 15th century Malacca. As escorts to the noblemen in palaces, these women were the sole guardians of palace secrets, as they fed, supported and entertained their men. In this case, Wangi was Jebat's partner, and witnessed his meeting with Tuah in a room, hence the title.

Playing Wangi is well-known TV actress Vanidah Imran, while Khir Rahman (labelled the "leading actor of his generation" by U-Wei himself) and Sobri Anwar play Hang Tuah and Hang Jebat respectively.

So what did Vanidah Imran think of the Wangi?

"Ah, Dang Wangi. It's a different perspective altogether because back then, women were docile, but Wangi spoke up for what she believed in," said Vanidah.

The play essentially captured Hang Tuah's personality behind the scenes, claimed Khir. "He does not represent social perception of manliness. He's not as sturdy. We are suggesting to society what happened behind those doors."

Javanese Malay

In an attempt to recreate every aspect of 15th century Malacca right down to the way the Malay language was spoken during that period, U-Wei insisted that the actors recite their lines in Javanese Malay.

"Javanese Malay is not Indonesian. There is a subtle difference that I hope to highlight in the dialogue between the various characters. It is proving to be a challenging task, I must say, but hopefully it will be accomplished in time," he added with a laugh.

"They are the best cast I have ever had," U-We enthusedi. "Most of them are multi-talented people. Khir writes very well, and in fact he helped me shape up my script. Vanidah is an excellent performer and Khalid is one of the best working actors in Malaysia. As I like to say, film is the directors' medium but theatre is the actors' medium."

Vanidah and Khir brushed off his praises modestly.

"I've learnt a lot from Abang Wei especially. I love his perspectives of things. He exudes enthusiasm and creativity all the time," said Vanidah.

"He is the perfect person to direct a piece like this," added Khir, to which U-Wei jokingly responded that although Vanidah and Khir are "accomplished" actors, he would take full-credit in the event of the play's success.

Extremely impressive as well was the play's creative team. The team is led by Desmond Crowe, who was art director of filmography on such movies such as "Alexander" (directed by Oliver Stone), "Hamlet" (by Kenneth Branagh) and "Othello" (by Oliver Parker). In 2002, along with art directors and production designers of the television miniseries "Band Of Brothers", he received an Emmy nomination for Outstanding Art Direction.

Shifting gears to the more serious issue of government support for the arts, U-Wei stated without hesitation there was a great lack of government funding for theatre and film in Malaysia.

"You see, there is no long term vision to help artists. We barely have the infrastructure. What more, there is no guild for actors nor is there an endowment for the arts. So much more commitment is required."

Vanidah concurred with him adding that there were hardly any good scripts for film in particular and generic love-triangle themes keep being recycled.

"It is a little better in theatre because the actor is allowed a greater degree of flexibility in his or her interpretation of the character."

"As with many other things, improvement of the arts scene starts with the education system," said U-Wei.

"The whole separation into streams is so confined. A person in the science stream should be able to take more arts-related subjects. Education officials, and policy makers should be more aware of this. There is a tendency to think that the arts stream is meant for lousier students as compared to the science stream. This is absolutely wrong."

The director chuckled cryptically when I asked him which film he enjoyed directing most.

"There is no one film. I have to say it will be my next. Although I still don't know what my next film is going to be about. I always hope that I will enjoy my next venture more than my previous. It's better that way, isn't it?" he enthused.

Wangi Jadi Saksi premiered on the 27th of July at 8.30 pm at Auditorium Dewan Bahasa dan Pustaka.

Date & Time: Thu 27 Jul - Sun 6 Aug 2006 (Tue - Sun: 8.30pm; Sat & Sun: 3pm) No matinee show on Sun 30 Jul & Sat 5 Aug

Tickets: RM100/ RM75/ RM55/ RM35

Ticket Contact: Axcess Hotline: 603-7711 5000 or www.axcess.com.my