Cahaya Jais (left) plays Laura, the daughter of Tria Aziz's character Amanda, in the theatre show 'Perhiasan Kaca', now showing at KLPac. Photo: Chan Kien Ming
Tennessee Williams' classic, The Glass Menagerie, is captivating a new audience through a fresh Bahasa Malaysia translation titled Perhiasan Kaca.
This localised version, now showing at KLPac's Pentas 2 until July 7, preserves the memory play's bleak nuances and storyline set during the Great Depression in the United States.
By retaining the essence of Williams' poignant narrative, the translation, done by academic Marlenny Deenerwan, bridges cultural and linguistic gaps, allowing the theatre masses here to experience the timeless tale of fragility and aspiration.
"The play portrays the delicate balance between beauty and fragility, epitomised by Williams' poetic language. Translating it into Bahasa Malaysia enhanced this quality, and the audience's positive response during the opening weekend highlighted their appreciation of this element," says Christoper Ling, the show's director.
Cahaya Jais (Laura) plays with a set of glass figurines in a scene during the 'Perhiasan Kaca' opening weekend. Photo: Chan Kien Ming
Perhiasan Kaca is part of The Actors Studio Foundation's (established in 2021) inaugural season of "Kembali Ke Pangkuan", which is curated by Ling, its new associate artistic director.
Familiar Asian values
On stage, the story delves into the lives of a mother called Amanda Wingfield (Tria Aziz) lost in nostalgia, her reclusive daughter Laura (Cahaya Jais) absorbed in her collection of glass animals, and her son Tom (Aidil Rosli) aspiring to be a poet. Despite their yearning for a brighter future, each character retreats into their own personal "glass menagerie," seeking refuge from their inner turmoil and pain. Azwan Ahmadi, who plays the gentleman caller (Jim O'Connor), completes the cast.
This production at KLPac also marks Ling's debut in directing Williams' work, inspired by his experience watching the play as an arts student at the Donmar Warehouse in London in the late 1990s.
The British trained theatre practitioner was profoundly struck by the universality of the themes, recognising how the 1944 play's exploration of familial ties, escapism, and isolation resonated deeply with Asian cultural values.
'I tried to empathise with Tom Wingfield's perspective - a child yearning for freedom and significance - which resonates with my own reality,' says Aidil about his role. Photo: Chan Kien Ming
This newfound perspective fuelled his passion to bring The Glass Menagerie to local theatre, showcasing Williams' masterpiece through the lens of Bahasa Malaysia.
"The play is timeless, which is why this production embraces a non-realistic approach," says Ling, who is also the co-founder of theatrethreesixty, a contemporary theatre outfit in Kuala Lumpur.
"Perhiasan Kaca's universal themes continue to resonate with the humanity within all of us. Each of the four characters is constantly running away from something."
He adds that there was no issue in keeping the play's setting in the United States.
“The Glass Menagerie deservedly possesses a spot as a classic American playtext – one that every theatregoer should have a chance to appreciate. Many of the issues within the play still resonate with us as contemporary Malaysians regardless of race, language or social background," he concludes.
In May, Ling directed the first of the "Kembali Ke Pangkuan" series with Saccharine, which was a sold out show.
After Perhiasan Kaca, the series closes in September with the experimental-minded Trilogi Bulan, featuring three specially commissioned Bahasa Malaysia works by Yusof Bakar, a Penang-based playwright.
More info here.
