‘Canadian Rajah’: who was Charles Brooke’s exiled son?

Director Sabera Shaik believes ‘Canadian Rajah’, which stars Malik Taufiq (right) as Esca Brooke Daykin, is a must-see for Malaysians. (Masakini Theatre Company pic)

PETALING JAYA:

What happens when a half-English, half-Melanau prince confronts the powerful woman who erased his name from history?

“Canadian Rajah”, directed by Masakini Theatre Company’s Sabera Shaik, invites audiences to witness an imagined meeting between Esca Brooke Daykin – exiled son of Charles Brooke, the second White Rajah of Sarawak – and the cunning Ranee Margaret, his wealthy second wife.

Written by Canadian playwright Dave Carley in 2021, the 75-minute play, which runs without intermission, premieres this week at the Damansara Performing Arts Centre here. Starring Sarah Shahrum as Margaret and Malik Taufiq as Esca, the production also features Israr Khalid and Amalina Arham in key roles.

Far from a dry history lesson, “Canadian Rajah” explores ambition, rejection, and the hidden forces that shape the past. Sabera was instantly drawn to its unique angle: “I’ve always worked on stories about people on the edges of society,” she said.

“Esca wasn’t exactly marginalised, but he was neither here nor there. When I read the play, I thought, ‘This has to be told.’ It’s an eye-opener for Malaysians.”

Sabera has built her reputation by staging works about historical figures, such as her acclaimed one-woman shows “Lady Swettenham” and “Puteri Sadong”. But “Canadian Rajah” introduces a lesser-known figure.

The imagined meeting between Ranee Margaret (Sarah Shahrum) and Esca Brooke promises to be a battle of wits. (Masakini Theatre Company pic)

Esca’s life was filled with struggle. Banished from Sarawak at birth, he spent years moving between Devon in England, South Africa, and finally Canada, chasing recognition of his Brooke lineage.

“He even wrote to parliamentarians in England,” Sabera shared, “but they never replied because Ranee Margaret still had influence over London’s high society.”

Carley discovered Esca’s story through Australian historian Cassandra Pybus’ book “The White Rajahs of Sarawak: A Dynastic Intrigue and the Forgotten Canadian Heir”. The play imagines a meeting between Esca and Margaret that, while fictional, stays true to the emotions and themes that could have defined their relationship.

In a particular scene, for instance, Esca comes with hopes of reconnecting, but Margaret’s sharp wit keeps him at arm’s length.

“It’s filled with subtle power plays,” Sabera noted with a laugh. “She drums her fingers, sighs and pretends to care, but it’s clear she just wants to get rid of him.”

Sabera says the rehearsal process, which started mid-August, has been intense. (Masakini Theatre Company pic)

The production’s impact extends beyond dialogue: the costumes, designed by renowned fashion designer Melinda Looi, are meticulously researched, reflecting the styles that would have been worn by Margaret and Esca in their era.

Looi’s research involved trips to the Sarawak Museum to capture every detail of Margaret’s attire, down to her intricate keringkam embroidery and regal songket fabric.

The visuals are further enhanced by Normah Nordin’s atmospheric lighting and Sivarajah Natarajan’s evocative scenography. Santosh Logandran’s original music blends Sarawakian sounds with contemporary instruments like the sape and cello, adding emotional depth to the story.

Sabera hopes audiences leave with fresh perspectives on both history and humanity. “We’re not telling you who to sympathise with – whether it’s Esca or Margaret is up to you,” she noted.

To her, the play invites reflection on how history is shaped. “Why should certain stories be swept under the carpet? Why should we listen to historians to tell us what was? We should be doing our own research and saying, ‘Look, this is what happened’,” she concluded.

‘Canadian Rajah’

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