Unveiling the artistry behind Theatresauce’s gripping production They All Die At The End
THEATRESAUCE’S second theatre production of the year, They All Die At The End (TADATE), wrapped up its run with six shows from 25 to 28 May. This remarkable theatrical event, presented in collaboration with KLPAC, took place at Pentas 2, KLPAC.
Led by the creative team at Theatresauce, TADATE captivated audiences with its exploration of the human experience. The all-male ensemble of actors exhibited exceptional skill and unwavering dedication, breathing life into every scene and leaving spectators spellbound and eager for more.
TADATE delved deeply into the past and present identities of Malaysians and Indians, prompting thought and reflection. Through a captivating blend of poetic text, dialogue, music, and movement, the production delved into heartbreaking truths and embraced moments of pure joy. It offered a glimpse into a world where brown men could freely express themselves and voice their thoughts without scepticism.
A successful production
In a conversation with the production director, Dhinesha Karthigesu, it was revealed that the show experienced overwhelming success. With an impressive record of five out of six sold-out shows and an average occupancy rate of 96%, the production resonated deeply with audiences.
“Approximately 860 attendees had the opportunity to witness this groundbreaking performance, and the response was overwhelming,” Dhinesha told theSun.
After working on a previous production, Dhinesha realised the importance of cultivating a space where individuals could connect on a shared wavelength regarding culture and identity. This revelation sparked an idea that significantly influenced the direction of the show.
“After working with two of the Malaysian Indian male actors, I found myself pondering the idea of forming an all-male ensemble,” shared Dhinesha. “I was fascinated with the idea of a group of men coming together to create art and collaborate on a theatrical production. The idea stayed with me for an entire year.”
“So when I got an opportunity to produce a show, I pitched this concept,” Dhinesha further explained. “I expressed my desire to establish a male ensemble – a group of talented actors – and explore the dynamics that would unfold when they collaborated.”
Dhinesha then delved into titles, analysing their complex parts, and found one that encompassed multiple concepts. This chosen title held great significance for him, representing the profound challenges Malaysian Indian men faced. It emphasised the prevalent abuse that shaped their lives, highlighting its depth and complexity.
“You know, the fears, the pain, the trauma. So I thought the title implied that I was telling the audience that this was not a happy show.” He continues, “You might laugh, you might enjoy it, but this is not a happy show.”
Dhinesha further expressed, “I chose the title because I didn’t want viewers to expect a lighthearted show. My intention was for the title to prepare the audience to immerse themselves in this world for the next two hours, understanding that it’s more than just entertainment – it’s an engaging experience.”
Centring marginalised voices
The director also discusses the challenges and conflicts involved in his work. The idea of an all-male ensemble of Indian men was a new one, putting him in an unusual position. In the past, his familiarity with the nature of the work allowed him to quickly recognise his involvement.
“There were times when I thought, ‘I have no idea what I am doing or what I am trying to give it,‘ because it is difficult for me to visualise the end result,” Dhinesha explained. However, the production proved to be one of Dhinesha’s finest, captivating audiences and leaving them craving more unique concepts.
Aside from that, another issue that has arisen, particularly in the aftermath of the show, is the realisation that the intention was never to represent the entire community. It was never intended for the show to represent every Malaysian story or to speak for all Malaysians.
However, due to its focus on the experiences of the all-Indian ensemble, centred around the director’s perspective, certain situations arose during press interactions or when audiences attended the show. Some individuals expressed that it didn’t feel like a comprehensive Malaysian-Indian narrative.
In response, Dhinehsa said, “Yes, because we discovered talented individuals whose stories needed to be told, who happen to be Malaysian-Indian. This is a personal story; this is a personal struggle; this is a personal issue. A single show cannot encompass the entire community’s story or struggle. That’s why I always focused on myself and my actors, highlighting their experiences.”
A unique collaborative concept
Soon after, the script was brought up as well. Dhinesha, who has a passion for writing, acknowledges that the script was a collective effort involving the entire team.
“The script was a collaborative effort between me and my actors. I cannot claim full credit for it. The actors played a significant role in its creation. It was a blend, not even a 50/50 split. Some actors wrote their parts entirely, incorporating improvisation, which was then re-recorded and refined. At times, I contributed certain sections, editing, and writing, but ultimately, the script was a product of the entire team, including the cast and my actors.”
Following the discussions, Dhinesha thanked everyone who discussed the show and shared it with others. He also emphasises the importance of audience support for the theatre industry, particularly for smaller productions like his.
Encouraging those who have experienced theatre before, he urges them to support local art by purchasing tickets and attending shows.
“Because every show that does well or covers its cost, and things like that, means people get paid well or properly. And then we get to keep making art. Consequently, I believe that is what I would tell audiences, support local art and theatre,” Dhinesha said.