Categories: Reviews

Coup d’Etat

It is very rare that a play comes along that is as relevant to where we are as a society as Coup d’Etat. It challenges our notions of equality, justice and tolerance in a way that is startlingly accurate, presenting a spectrum of views on religion and legal systems.
Set against the backdrop of the 1988 Malaysian constitutional crisis, Coup d’Etat tells the story of an American lawyer who travels to Malaysia to interview a judge, who was removed from office by the King of Malaysia for speaking out against the government. Malaysia is the perfect setting to explore the cultural divide between the East and the West and challenge our perceptions about the way we view international politics and Islam. It is a curious country, predominantly populated by Muslims, but previously occupied by the British. The Malaysian constitutional and legal system is largely inherited from Britain, but the culture of Malaysia remains fairly traditional, influenced heavily by Islam.
For any constitutional law or religion buff, this piece is thrilling, tackling these broad philosophical questions in the microcosm of a country struggling to reconcile the differences between cultures and religions in a globalised world. Some of the characters are a little simplistic and the dialogue is at times broadly written and lacks subtlety, but this is necessary, to a certain degree, to focus on important issues. But beyond this, the dramatic turns and self-discovery that all the characters face make this a compelling piece of theatre.
This fine production, directed by Suzanne Millar is textured, rich and immediate. It is bright, fast-paced and colourful, conveying the beauty of Malaysia through effective staging a beautifully simple set design. The performances are strong, particularly in the more personal scenes that rely on individual dynamics, although it’s apparent that some actors don’t fully understand the constitutional law arguments that their characters are making. They wax lyrically about the doctrine of separation of powers and judicial independence with dramatic conviction, but it’s just somehow obvious that they lack the experience and legal knowledge of the characters that they are playing.
Renee Lim as Sofiah, the Muslim guide, is particularly strong. She infuses her character with passion, complexity and justified anger. She makes Sofiah genuinely interested and eager to educate the world on Islam, beyond what we see in our mainstream media.
The production uses a live musician, Rabih Antonios, who plays traditional instruments. The live music conjures up the atmosphere of Malaysia in 1988 and creates palpable tension in the most confrontational moments of the play.
Coup d’Etat is a very important play. It questions the stability of our own culture and legal system in a time of change. It makes us look at our own prejudices. It forces us to reconsider the truth of what’s presented to us in our media. While it often oversimplifies complex historical and cultural issues to make them work in a dramatic format, it adds to the dialogue on some of the most important questions facing Australians right now in a way that very few plays do. Riverside Theatre 8-13 November Parade Playhouse (NIDA) 15-19 November Book www.ticketek.com or 1300 795 012Visit stagedirectionstheatre.com