Shakespeare Meets NOH: DESDEMONA

Malaysians enjoy contemporary Japanese culture but rarely encounter its classical heritage. Similarly, while Shakespeare is widely known, many have limited direct exposure to his plays. “Shakespeare Meets NOH: DESDEMONA” addresses both gaps by uniting Shakespeare and Noh theatre—two major artistic traditions—into an accessible experience. Audiences are introduced not only to “The Tragedy of Othello”, a work that has endured for over 400 years, but also to a 14th-century Japanese dance-drama form seldom presented in Malaysia.

“Shakespeare Meets NOH: DESDEMONA” reimagines Shakespeare’s “The Tragedy of Othello” by shifting the focus to its central female character. Drawing on the tradition of Noh theatre, this work envisions an afterlife in which Desdemona—tragically killed by her jealous husband, Othello—is finally reconciled with him, who appears remorseful and who ultimately recognises her innocence.

The story begins on Cyprus Island with a Japanese monk who comes nightly to the coast to chant prayers and sutras for those who perished in the battles between the Italian and Turkish navies. On this calm night at Naruto Bay, he notices an embroidered robe hanging on pine branches. Attached to it is a poem. As he reads it aloud, Aphrodite appears and claims that the robe that belongs to her. The robe, she explains, contains the shared story of all women. She tells the monk of Apollo and Coronis, and of Othello and Desdemona—women who died at the hands of jealous lovers. The spirits of these women remain unfulfilled and restless.

Desdemona’s tale unfolds once more. After her death, through the monk’s prayers, she is resurrected and given the power to confront Othello and seek reconciliation on her own terms. Having achieved resolution, she finally ascends to heaven.

Desdemona is anchored in Noh theatre’s ritual of releasing the spirits of departed women. In this production, KL Shakespeare Players’ Shakespearean expertise meets Noh’s refined costumes, movement vocabulary, and ceremonial structure. The performance is multilingual—Japanese, English, Malay, and Chinese—inviting audiences to understand with their eyes and hearts and to listen deeply to its evocative soundscape by Santosh Logandran and the musicians from LifeArtUnion.

The “Malaysian Real Book II: Past to Present” follows on from the first Malaysian Real Book concerts, presented to box office and critical success at GTF 2025. It celebrates the rich and diverse heritage of Malaysian music while also showcasing the work of current composers and songwriters. 

The concerts are fronted by three of Malaysia’s best jazz vocalists – the velvety Ida Mariana, the sparkling Janet Lee, and the soulful Yon Lynn – each possessing a deep passion for the Great Malaysian Songbook. Singing traditional standards and contemporary originals from the treasure trove of The Malaysian Real Book – songs in Malay, Chinese and English – their individual and combined styles are innovative and charged by boundless musical joy, all rooted in a distinctly Malaysian jazz sound. Expect soaring vocals and a foot-tapping vibe carried by the rhythms of swing, bebop and soul, and accompanied by the award-winning WVC Jazz Sextet.

The objective of “The Malaysian Real Book II: Past to Present” concerts is to showcase the very best of Malaysian popular music in a jazz idiom that draws on three of Malaysia’s language streams – Malay, Chinese and English – in a melding of the past and the present. It also reaffirms jazz as a consummate performing art that takes its place regularly at the heart of successive editions of the George Town Festival. The concert maintains the highest artistic standards; attracts and educates an inspired audience of aficionados and newcomers to this music drawn from all communities and age groups; and nurtures creative diversity in all of its forms.