Malaysian Idol Interview by BlueHyppo.Com

http://malaysianidol.bluehyppo.com/view_news.asp?AID=178

TALKING TO MICHAEL XAVIER VOON, MI PERFORMANCE COACH

You’ve seen the Idols in action on stage. Now get an insight of the man who coached their mesmerizing performances, Michael Xavier Voon.


BH: What does a performance coach do? MXV: Anything that relates to techniques in performing a song on stage and how they are applied. Specifics are such as: 'analysis of a song', 'analysis of musical setting', 'singers' talk', 'movement' and 'checklists'.

BH: How do you train to be a performance coach? What is your background? MXV: I have always been interested in movement since childhood. At 12 I won a dance competition, at 14 i choreographed my first dance pantomime, by 15 I performed my first Karate exhibition, by 16 I requested Voice of America (Shortwave Radio) about School for the Performing Arts after watching Fame the movie and when I was awarded a dance scholarship to USA, the rest just fell into place. In college, one of my degrees was performing arts and my favourite class for 4 years was Musical Theatre.

Most of my facilitative applications for artists came from the seeds of those early exposures. Later in life, I realised that movement is so prevalent in everything around us and they follow a certain journey with poetry. Nature reflects that.... how the leaf naturally has this consciousness in knowing how to move to face the sun. The lines on the leaves, the rings of the tree stump, the seashell, pineapple and durian patterns – they all reflect 'natural movement in formation'. Don't get me started... I can talk for hours on this!

BH: How did the opportunity to be a coach for Malaysian Idol come about? MXV: When I heard that my good friend Elaine (Francessca on 8TV ads) was working on the Idols last season, I asked her if I could observe and give feedback cause she knows it's my cup of tea. I had just judged the Audition Finals for NTV7 plus had a blast shooting 2 TV ads for BlueHyppo TM Net. I came in only at the Top 12 to observe and finally worked with the Idols in Classic Week. Jac thought I was a reporter when she first met me. Rydee was like the girl from Oren Kounti, Kalifornyah. Sufiah and Fazly were sad because they were out before Classic Week. So you can imagine the fun we had when we all met again for rehearsals for Genting!

BH: How’s it like to be a coach for Malaysian Idol? MXV: I enjoy it tremendously! The most moving thing is when one imparts knowledge, skills, spirit and the love for the performance arts. They ought to be so thankful for the gifts that they have. I treasure the 126 Idols that I have come to meet especially the 24 that had a chance to be in the Workshops. For the Top 24, I always remind them that they are not performing alone but they are representing the ones who did not make it. Its a very humbling realisation when they wake up to the beauty of such an experience. I just pray that the seeds will grow.... and wherever they go now, a part of me will be in each of them.

BH: What is the hardest aspect of your job? MXV: Hardest would be the acceptance of the reality that Idols can't correct their bad performance mannerisms that has built up in many years in a matter of minutes, hours, days or weeks. Let's say if an Idol likes to sing with a specific hand gesture for the last 5 years, it takes 5 years for the singer to 'unlearn' it naturally. Even in speeded up processes, it takes a really dedicated learner to unlearn the habit. The performer has to be prepared to go to extremes to transform.

BH: Compare the batch of contestants from MI1 with MI2. MXV: How should I compare? They are all different! I remind myself I am working with individuals and they have individual journeys.

BH: How is your bond with the current batch of Idols? And who do you get along with best? MXV: We are a sort of family that greets and hugs. Idols have shared their personal concerns, vulnerabilities and worries; and yes, many have broken down and many have showed their great joys too. The ones I get along best are the ones who who have gone beyond just a working relationship but of a sharing of person-hood.

BH: Can you elaborate about the performance skills of each of the surviving contestants? MXV: They each have their own strengths, not one has all the skills, so it's a tough to elaborate. It will take me many pages to go into details.

BH: How different are the Idols’ off stage persona from their on stage persona? MXV: Some are like what you see on stage while some may look different. In the end, its a strange concoction of what is on TV and what is perceived. The audience will make up their own minds anyway! The moment a performer can control this by applying skills and principles of performance, then the result is more manageable; thus, a star is in the making. Hey, it is a career like any other.

BH: Do you get an inspiration for a group performance first, then work with the kids later, or have a rough sketch of their dancing / performing ability before deciding on a performance? MXV: We have no time to think! Usually I am given the music and song on the day itself! So what we use is very much on the spot during rehearsals. i am used to it though. So Idols have to be very alert to get the number done quick. The best moment I had was working with the Top 11 Spec 1 and Spec 1 Result Show. Since I knew 2 would be leaving, i made sure I incorporated their own choreography. I used at least 8-16 counts of each Idol in the Final Result Show number so that they can look back and a piece of themselves would be in there. Fame was choreographed with the special pairings in mind. Aubrey was excellent in that.

BH: What criteria do you use to pair up different Idols for performances? MXV: No 'special' criteria but there are certain no-no's. Height, compatibility, movement skills, pre-show dynamics, etc are all considered.

BH: Who has improved the most throughout the show (including those who have been voted out)? Top 24 or 11? MXV: In Top 24, Fauzi, Adam, Azam, Atilia, Intan, all comes to mind but hey, hard la this question! Hmm... come to think of it, there are are so many different aspects of improvement, sorry no time to elaborate.

BH: How much time is spent on performance skill in a week, compared to the other time with the coaches? MXV: All of the coaches' training are inter-related. We often overlap. Performance and vocal training can be done simultaneously. I do get to spend more time with them more often because we also have opening numbers to do for Spec and Result, though the choreography work is only less than 20%. In performance coaching, more details are involved. They have to parallel their thoughts. focus, voice, heart and body language simultaneously. That is often the toughest. In each of the 5 details, an Idol may get only a couple of minutes to work on it! At the end of the day, Idols have to choose from the options available and be responsible for what ends up on stage. Homework and preparation before rehearsals are very important. Time is never enough!

More about Michael Xavier Voon

Michael Xavier Voon graduated with Magna Cum Laude in 3 disciplines from the USA namely in Performing Arts, Graphic Communications and Fine Arts. He is listed in the Who's Who Amongst American Students in 3 consecutive annual publications and won performance awards in UCLA and University of Washington, Seattle, USA.. Michael has been a college lecturer for the past 14 years. With a passion for all facets of the performing arts, Michael is an educator, choreographer, actor, performer, director, tv / film talent and digital visual artist with works featured in USA, France and Australia.

Michael's past productions and credits include A Chorus Line/Cinderella/ Amadeus/ Seven Brides For Seven Brothers/ Snoopy/ Who Was That Lady I Saw You With?/ The Old Maid/ Destry Rides Again/ The Boyfriend (USA), Diaries in Solo (Texas), Seven Deadly Sins according to Mahatma Gandhi (MyDance with Actors Studio), Survival, The Merchant of Venice (Instant Cafe Theatre), Hip Hopera (Straits Theatre Company), My Wok (Sydney), Dances of the World (Malaysian Philharmonic Orchestra), Playground (Five Arts Theatre), Cafe Teh or Buto (Taro Dance Theatre & ICT), Asian Youth Forum (Paris), KL-KO (Kuali Works), Storyteller (Dramalab), RTM Christmas Special, Astro TeleMovie and Spring in Kuala Lumpur (Pappa Tahahumara/Japan Foundation/Five Arts Centre). He was on the panel of judges for NTV 7's Audition Finals '04 and choreographed for the Malaysian Idol Concert in Kuching.

Michael currently lectures at CENFAD (Centre for Advanced Design) in KL, appears as the BlueHyppo & TMNET's Best of Broadband for TV and facilitates various workshops across East-West Malaysia and the USA. Michael performed at Times Square in April 2005 and facilitated workshops in NYC. He has been judging Inter-School Drama and Dance Competitions around the nation, returning as a judge in the Kakiseni Cameronian Awards and repeats as performance coach for the 2nd Season of Malaysian Idol.

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