ABSTRACT
In July 2005 Malaysian theatregoers were promised “an international blockbuster,” “coming to a screen near [them].” A production called Macbeth in the Shadows was “spearheaded by Pusaka in association with the British Council.”1 Macbeth, Pusaka, and the British Councilof the three, most English-speaking Malaysians would probably have been familiar with the fi rst and the last names. Through this collaboration, however, more and more Malaysians would come to learn about Pusaka and its founder, Eddin Khoo, who has devoted almost half his life towards the research and documentation of the Malay traditional theatre form called wayang kulit.
