Helping hand for theatre

Faridah and Aishah are committed to promote the teaching of performing arts

THEY are both titans in their respective fields. Datuk Faridah Merican, co-founder of The Actors Studio (TAS), is a doyenne of the theatre industry while Toh Puan Dr Aishah Ong, an active social worker, is noted for her fund-raising efforts.

Together, they make a formidable force to give the theatre world a much-need boost to protect, nurture and promote the performing arts. The 60-something Faridah is over the moon that Aishah, whom she has known for many years, has agreed to be the patron of TAS.

“This is one of the best things that has happened to us. True, we have waited 20 years but there is a time and place for everything. And the timing now is just perfect. We’ve moved into our new home base at Lot 10 and with Toh Puan Aishah as our patron, we can make a greater impact in the world of Malaysian theatre,” says the casually-dressed Faridah enthusiastically as she brushes a strand of salt-and-pepper hair off her face. Why Aishah, one wonders.

“Both Joe (her husband Joe Hasham) and I believe she is the most suitable. She’s well-known for her relentless drive and commitment to worthy causes. She is a doer. And she is also a wonderful friend.”

As if on cue, Aishah walks in, elegantly-clad in a blue baju kurung and wearing her signature accessory, two strands of pearls. She lets out a muffled shriek.

“On no, I am overdressed. I should have worn my comfy pants and T-shirt.” Aishah, wife of Tun Omar Yoke-Lin Ong, the only surviving member of Malaysian’s first Cabinet, has spent most of her adult life immersed in charity and social work.

She has acquired a string of awards for her tireless contribution to the country. She is a patron, board member, founding member or trustee of over a dozen organisations, mostly medical-based. She readily admits to being surprised that Faridah and Joe approached her.

“I am one of those people who can’t sing, dance or act. I am not a practicing doctor but the two things I do reasonably well are social work and playing the gamelan. In fact, I was thinking of cutting back on some of my work or relinquishing some of my posts. I am pushing 65 and yes, some of my bones are creaking.”

But she could not say no to two friends whose work she has long admired and enjoyed.

“More than anything else, I admire their commitment to training and nurturing the young in this field. That was the push factor for me,” she says.

Meanwhile her phone has not stopped ringing — calls from friends in the corporate world whom she had rallied for donations (cash or kind) for earthquake victims in Sumatra. She has been the chairman of Bakti’s Welfare subcommittee since 1984.

“All in a day’s job,” says the chatty Aishah who is not afraid to roll up her sleeves and get right down to work. She insists on being a team player when it comes to raising funds or getting any job done.

“Everyone has a part to play, big or small, and together, goals can be realised,” she says. Aishah considers Tun Siti Hasmah, who introduced her to social work, as one of her mentors.

“In all honesty, social work is what keeps me grounded. You are in touch with reality as you see the pain and suffering that people go through. It can drain you both mentally and emotionally.”

She’s looking forward to helping raise the profile of the arts alongside other important issues such as education and welfare.

Faridah chips in: “We cannot deny that experiencing and creating art is an essential part of helping young people understand life’s complexities and tackling its problems with a full range of tools. The end result should be a society that values the arts and sees it as a part of its lifestyle.

“Changing the mindset can bring about audience growth, a higher level of artistic talent, technical and production support, sponsorship and funding.

“If there was any doubt about the importance and the role of the arts in the community, the crowd at our final show in Bangsar would have made it clear.”

Since the 90s, TAS has set up an academy to provide training for the young. Among thespians who have passed through its doors are Datin Seri Tiara Jacquelina, Patrick Teoh, Ramli Hassan and Fawziah Nawi.

The academy also has an outreach programme that takes the performing arts to the underprivileged, the mentally and physically challenged as well as those in homes.

Both women see the theatre as an excellent agent for bringing people together. “Through theatre training, we are teaching the young ones the art of interaction. And it’s an avenue for speaking up and saying things about what we believe in,” says Faridah.

For her, starting the new theatre at Lot 10 is a challenge. “Twenty years on and it has not become any easier. This year in particular, funding for the arts has taken a really hard hit.”

For many large corporations, their CSR framework does not include arts. “It’s unfortunate that some do not consider or accept arts as part of education and community development.

“There is also the issue of value in sponsoring arts. It’s difficult to quantify creativity or expression. And you can’t give a dollar for dollar return on investment. TAS needs all the help it can get. Now you know why we roped in Toh Puan!” says Faridah, throwing back her head in laughter. Aishah, who enjoys theatre performances, is willing to meet the challenge head on.

“Together, I am convinced we can achieve something positive and create a society of people who see the benefit of arts.” The theatre is one place where Aishah unwinds.

Two or three times a month, she and a group of friends and family members would attend plays or musical performances. “It’s so therapeutic for me, a great way to relax and laugh, especially after a mentally and physically exhausting day.”

She also unwinds by sitting in front of the television in her favourite T-shirt and pants, watching the Asian Food Channel.

“That’s my favourite channel. I can’t cook even if my life depended on it but I can tell you how to make the best baked chicken or grilled fish,” she says, laughing.

The Actors Studio has a new home — the rooftop of Lot 10 Shopping Centre, Kuala Lumpur. The 743sq m (8,000 sq ft) space was offered by YTL Corporation when the Bangsar theatre closed earlier this year.

The highlight of this 250-seat theatre is its dramatic Hanamichi-thrust stage, a T-shaped stage used in kabuki performances. It was designed by the TAS team together with Yuhkichi Kawai, who designed the Starhill Feast Village.

The unique stage layout and three-sided seating will be a challenge for directors. It definitely opens up new staging possibilities,” says Faridah.