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Sutra by London-based theatre Sadler's Wells was the toast of George Town Festival 2013.

MINIMALISTIC in set-up but powerful in aura, Sutra, by London-based theatre Sadler's Wells was an ethereal confluence of dance, design and music that lifted the veil on a culture steeped in discipline and spirituality.

Choreographer Sidi Larbi Cherkaoui's critically-acclaimed piece had an inquisitive Westerner, played by Ali Thabet, embarking on an odyssey into the lives of Shaolin monks, and coming face to face with their awe-inspiring, kung fu prowess.

Seen by over 65,000 people at 60 cities in 28 countries all over the world since its debut in 2008, Sutra garnered 2,000 more appreciative fans during two sell-out performances at Dewan Sri Pinang in Penang last weekend, for the month-long George Town Festival 2013 that ends tomorrow.

The production unfolds on a stage lined with identical wooden boxes, and not much else. Devised by set designer Antony Gormley, each open-top case is an inseparable implement for the cast of 18 bona fide monks from the original Shaolin Temple situated near Dengfeng City in China's Henan Province, established in 495AD by monks originating from India.

After the opening scene, where Thabet and a boy monk sat contemplatively around a collection of blocks, each representative of the full-sized wooden boxes, the journey is depicted in a series of episodic vignettes.

The outward simplicity of the set gives way to functional dynamism as the boxes are constantly rearranged with clockwork precision, playing with shape, symmetry and space.

Lined up together, they become forbidding walls to scale. Stacked atop one another, they become bunks for the monks to rest in. Placed in a circle, they seem like flower petals unfurling around the characters. Spaced apart, they represent a maze of skyscrapers, drawing gazes of amazement.

Upended, the boxes serve as pedestals for the monks to display their balletic belligerence, before jumping off when it all comes tumbling down. Later, the boxes become human dominoes (with the monks inside), that tip each other over in a cascading chain reaction.

(For Star2) Ali Thabet (bottom) and the young monk share a reflective moment in the claustrophobic boxes during one of the scenes. (Credit: Ali Thabet)

Ali Thabet (bottom) and the young monk share a reflective moment in the claustrophobic boxes during one of the scenes. Photo — ALI THABET

The minimalist design approach also serves to focus all the attention on the monks' maniacally intense, yet graceful kung fu moves. Flying kicks, quickfire punches, backflips and shadow sparring, all evidenced their entrenched warrior abilities, and had the audience mesmerised.

When Thabet finally joins the monks in a climactic workout, one gets the sense he has completed his quest for cultural enlightenment, and so did audiences succeed in gaining a better appreciation of the monks' unique way of life.

Composer Szymon Brzoska's accompanying score, comprising piano, violin, cello and percussion, was played live from behind a white screen.

Sutra is touted as the first true collaboration between Western artists and the Shaolin Temple, and one that arose from an offbeat suggestion made by an acquaintance of Cherkaoui. He visited the temple, and enchanted by what he saw, decided to make a production with elements of it.

It was not easy initially, as he had to first convince and gain the blessings of the senior abbots there. After that was secured, Cherkaoui spent several months at the temple, working with the monks and engaging his life-long interest in the Shaolin philosophy, and its relationship with kung fu.

"We rehearsed in the temple for three months, and tried many different ways to explore the spirit of kung fu and a unique culture that was in contradiction to our own. It was an eye-opening experience, because in the beginning, nobody knew what to expect," Thabet revealed in a pre-event press interview.

"There was a special feeling when we first stepped into the temple. It was a completely different world and way of living, to what we, as performers, are used to. Being in a place where people followed a similar routine everyday, somehow brought me peace," he added.

The use of wooden boxes, afforded them flexibility on set, and provided audiences with unique showpieces. These became metaphors for architectural elements they had seen at the temple, as well as interpretations of their experiences.

Brzoska opined, "You can have your own interpretations of every scene, which we felt, make it more profound and multi-layered. It might be a different story for everyone, but there's a common essence behind it."

The cast and crew, who celebrated the production's fifth anniversary with a showcase in London – where it all began – back in April, were delighted to make their maiden appearance in Malaysia.

One of the monks, Huang Jiahao, saw his role as a conduit in bridging Eastern and Western civilisations, and facilitate an exchange of cultures.

"Since I was a kid, all I've known was kung fu, so this has been a totally new experience in my life. But having done this, I've discovered that dance and kung fu share many similarities, just like many other elements between the east and west," said Huang.

And while he and his fellow monks have found commonalities in things alien and exotic throughout their journey, so have audiences acquired a newfound appreciation for the Shaolin way.

Kredit: www.thestar.com.my

Selasa, 9 Julai 2013