Since March 1998 when Atomic Jaya first opened at the original Actors Studio Theatre (now reclaimed by the primordial ooze), too many things have gone badly for the world. So when something bucks the global trend of failure, destruction and disaster - when something goes very well indeed – it’s a call for huge celebration and rejoicing.

A sure sign that something is going very well indeed is when you see nothing but cheerful faces leaving their seats at intermission, and there are far more grins than frowns at the end of the show.

Okay, there were THREE members of the audience who made a major show of not enjoying one of the finest satires I’ve seen staged anywhere. Someone whispered that they were from City Hall, there to monitor the performance for offensive, subversive, or pornographic content. After the recent fiasco over its ill-advised attempt to ban the Instant Café Theatre from the city of KL (thanks, Mr Mayor, for speaking out on behalf of good sense and reversing the ban; I insert a round of applause for that silver lining on an inquisitorial dark cloud), it’s understandable that City Hall would be feeling defensive.

Keeping sewers clean, streets swept, and petty traders on their toes isn’t quite as glamorous or exciting as intimidating the fancy-talking faggoty arty-farty fringe. However, what one person labels “offensive” another calls “hilariously honest.” You have to really hate how you look to object so strenuously to your own reflection. Art’s primary function is to reflect our lives. Everyone ought to know that. Certain artistic approaches may work more like distorting mirrors but being able to laugh at your own comical aspects means your ego is healthy and comfortable with itself.

All true art is subversive, reclaiming for the individual the power the State constantly attempts to steal. Everyone knows that if art is subservient rather than subversive, most likely it’s mere corporate propaganda. And in response to the question of what constitutes “pornography,” all I can say is: “Honi soit qui mal y pense.” Evil to whomsoever thinks evil.

Enough! We won’t allow City Hall to steal the show, no matter how badly it wants in on the limelight. I want this to pass as a review, not just a rave. So how did I like Atomic Jaya’s new incarnation?

Enormously! The original version was more or less a 14-character monodrama: a litmus test of any actor’s ability, agility and nerve, sort of like tightrope-crossing Niagara Falls on a unicycle. This Checkpoint Theatre production features Claire Wong and Huzir Sulaiman on a breezy tandem ride through Bolehland – with crisp digital images meticulously crafted by director Casey Lim and flashed on a paper screen as a kinetic backdrop (the state-of-the-art, high-resolution Panasonic projector produced startlingly clear images). It also has Fahmi Fadzil playing a double rôle as a canteen makcik and patriotic singer.

While the original version was supercharged with manic intensity and a stark, dark surrealism, this new production heightens and broadens the comedy, thus increasing its entertainment value without detracting from the script’s satirical incisiveness. And in any case it’s doubly pleasurable to watch two consummate performers tackle the main characters instead of one.

What gives Atomic Jaya a solid core of substance beyond the guffaws, sniggers and belly laughs is the play’s underlying seriousness as anthropological commentary. The fact that it opened in Kuala Lumpur on August 6th – on the 58th anniversary of Hiroshima, when 80,000 human lives were destroyed by an atomic bomb dropped by the United States Air Force, followed by another over Nagasaki three days later which decimated horrific thousands more – was a grim reminder to us all that we’re still living under a nuclear sword of Damocles (not “umbrella” as some may pretend).

The mind-boggling insanity of squandering trillions on an ongoing programme of Mutual Assured Destruction – instead of redirecting every available resource towards the alleviation of suffering caused by simple lack – has its roots in the malignant human ego when it takes on exaggerated nationalistic proportions. Can the laser surgery of sharp-tongued humour excise the tumour of ruinous pride and megalomanic ambition? Perhaps not, but weapons-grade satire produces a chain reaction of transcendental consciousness among those it infects with despair-banishing mirth. And even the deadliest strain of militant pomposity cannot withstand well-aimed ridicule, though it will try its damnedest to outlaw and suppress it.

On the strength of the three or four plays (and one short film, That Historical Feeling by the prolific Huzir Sulaiman) in which I’ve seen Claire Wong act, I’d place her amongst the top ranks in both hemispheres. The precision, sensitivity and vitality she infuses into each rôle makes her - like Jo Kukathas, who created the original characterizations - an extraordinary shapeshifter.

Who can forget her Dr Saiful from UKM (“Oh, you are discussing philosophy. Very interesting. For example, ‘Men are from Besut, Women are from Dungun.’ I also like philosophy.”)? Or her thumb-twiddling malapropic minister (“Why should we import the highly enriched Iranian? We already buy the Persian carpet and the Persian cat from the Iranian so they become highly enriched at our expense.”)?

In two seconds flat she visibly gained 200 pounds as former US Secretary of State Madeleine Albright: “We have the might, and we have the right, and we will not hesitate to fight for the right to our might, and our might alone. Ask not what your country can do for you; rather, ask what our country can do to your country.”

But as nuclear physicist Dr Mary Yuen, Claire Wong was 100% the real McCoy. No problem passing her off as a Chinese Catholic girl from Ipoh who just happened to idolize Lord Rutherford, Niels Bohr, Erwin Schrödinger, Max Planck, Albert Einstein, and the entire subatomic pantheon.

Huzir Sulaiman was in top comic form as General Zulkifli (with his classic Napoleon Complex and unforgettable lines like, “I want to get to the bottom of this matter. Until the bottom is reached, the top cannot be happy.”); and the excitable Delhi Polytechnic graduate, Dr Ramachandran (“If you vant to take yumbrage, make sure this taking of yumbrage is correct and prahper. Yumbrage simply cannot be taken at vhim or vhimsy. You vill vaste the yumbrage.”)

He had a spot of trouble getting an exact fix on the extremely sleazy Mr Bala, and his Otto (the low-grade European) could have been further fine-tuned; but he outdid himself as a whole stream of newsreaders from the BBC, CNN and RTM – and as a police officer addressing a group of protestors (all 7 of them) with a loudhailer: “This is an illegal assembly. I order you to disperse. This is your first warning. Tangkap mereka semua.” An immortal characterization in only four lines.

Noraini, the canteen operator at Syarikat Perniagaan Atomic Jaya Sdn Bhd, was played in drag by Fahmi Fadzil who turned in a laudably restrained performance. Fahmi also did a superb job as a nattily besongkoked patriotic song-rendering robot, as instant palm trees waved in the electronically generated background.

Director Casey Lim’s wizardry with digital design is matched by a fine intuition for injecting just the right symbolism with almost subliminal subtlety. The choice of a solitary hibiscus flower (Malaysia’s national emblem) as central motif was an inspired one. Closeups of the stamen evoked understated phallic imagery and mimicked the mushroom cloud that would later dominate the entire backdrop with chilling effect. From nationalistic egocentricity to testosteronal displays of potency – just by changing camera angles on a hibiscus flower – pretty neat!

When all the elements of a play work together so efficiently (and with such apparent effortlessness) to produce an aesthetically satisfying synergetic gestalt, we are reminded that Creation is infinitely wise and perpetually self-perfecting. So what if the country or even the whole goddam planet is temporarily in the hands of Sharkey and his perception-challenged henchmen? The vision quest only makes sense and carries any value if it bears the ring of truth – and Huzir Sulaiman’s Atomic Jaya rings true for me. Go see it if you haven’t. And even if you have, go see it again!