‘Will You Be My Witness?’ Examines What It Means to be Seen

In a world increasingly saturated with filtered snapshots, curated photo collages, and stylised videos, what does it feel like to be seen and not just looked at? Social media platforms such as TikTok and Instagram have completely transformed the way we present ourselves and how we often seek validation—those notification pings of likes and comments, and an increase in views every time we refresh the page, serving as addictive shots of instant euphoria we can’t shake off. This warped digital reality becomes almost as important as our physical one, but it doesn’t get us any closer to real connection. 

Will You Be My Witness invites us to explore what it means to truly bear witness to another’s existence. Sometimes, all we’re looking for is one person to see us for who we truly are—and stay. Exploring both the blessing and curse of our innate desire to be acknowledged and seen by others, Lowercase Laboratories’ latest production transforms the act of voyeurism into an immersive kinesthetic experience. That’s right, no words are spoken in this dance-theatre production.

Under the direction of Low Yee Choy and choreography by Kenny Shim of Kenny Shim Dance Collective, Will You Be My Witness features visceral movement, emotionally-charged choreography, and an atmospheric setting to tell a hauntingly honest story.

Ahead, we speak to Choy and Shim to learn more about how they capture the art of being seen through movement and what audiences can expect from the show.

Where did you first get the idea for Will You Be My Witness?

Low Yee Choy: It all started when I was having a heated debate with my friends one night. We were discussing that philosophical question: if a tree were to fall in a forest but no one was around to hear it, did it make a sound? We were divided, but I was on the side that believed it does make a sound. So, that’s where it started as an inspiration. I wanted to explore it because, for me, whatever happens to us individually, whether or not anyone is there to see it, it still happens. That’s my take. 

How did this collaboration with Kenny come about? Did you already know you wanted to work with him from the get-go?

LYC: When I first started out, we met in the same theatre production. I was the assistant stage manager, and he was the choreographer. We’ve never worked with each other before this production. The thing with me is that I like to challenge myself every year at Lowercase Laboratories [laughs], so this year, I wanted to challenge myself with a dance show.

As I’m from a theatre background, directing dance is very unfamiliar to me. I knew that having a choreographer around would definitely help, and the first person that popped into my head was Kenny. He’s always exploring the idea of human connection as well, so I think it all just made sense.

Kenny, what were your first thoughts when Choy came to you with his vision?

Kenny Shim: I thought the topic was really timely for society right now. Everyone is seeking attention and places so much importance on external validation. I thought that in itself was already interesting. What also got me really excited was the possibilities for exploration, as the topic is so fresh. I feel like it gave me a lot of room to play around through movement and the concept of using aesthetic imagery to explain the idea.

Choy, you’re more used to directing theatre actors, but in this case, they’re all dancers. How did both of you manage this together?

LYC: Yes, one thing that stood out to me with this production was how different the dancers were from theatre actors! With actors, they very much love to analyse the script and psychologically try to step into the character’s shoes, so they’re more exploratory. With dancers, they prioritise execution and clear instructions. 

Everything is precise down to the beats and counts, and they don’t really need to know the why behind the movements. So, in the early months of rehearsals, I was trying to get them into this philosophical headspace, and they would look at me all confused [laughs].

Honestly, I couldn’t do it without Kenny! As a choreographer and teacher, he was able to psychoanalyse whatever was in my head and communicate that with the dancers. I’m not trained in dance at all, so I don’t know all the right terminology or the language to properly communicate all my thoughts. So, Kenny really saved a lot of our time and efficiency. I would throw all these references at him, and he would explain to the dancers in two words!

But it’s all been a very rewarding experience for me, where I learned a lot from them, too. I’m very grateful to all the dancers who said yes to helping me bring my vision to life. 

KS: Yes, in many ways, dancers are different from theatre actors in terms of our culture and how we perform our craft. I was able to be that bridge between the director and dancers because of all the hands-on experience I’ve had in the past. Because I work closely with dancers, I’m able to understand what they need, and because of my experience with various other directors, I’m also able to understand what they’re trying to envision.

Knowing very well that he comes from a theatre background, I think one thing that Choy did quite intelligently was understand that he needed that bridge or mediator. It didn’t necessarily have to be me, but any choreographer would be important to help translate a theatrical vision to a kinesthetic moving vision. 

Speaking of dance, what was the thought process behind the choreography? 

KS: For me, as much as Kenny Shim Dance Collective is classically trained, we are also strong contemporary dancers. I like to find uniqueness in each dancer. For this show, I wasn’t specifically searching for a type of aesthetic or a type of dancer. I was much more interested in working collaboratively with the dancers who were available.

I wanted to fuse different ways of moving that are unique to my dancers. From that blend, I’m able to create a new way of moving, an interesting way of storytelling. How can I use movement in portraying an idea or an image that ties into the themes of the show? I was thinking a lot about that.

LYC: You’re going to see images, gestures, and movements that you will immediately recognise from our day-to-day life, but reinterpreted into something unique and even quite unusual. 

Because this is a production where there is no dialogue, audiences will be focusing on their bodies and the way they move. Sometimes, less is more. In this sense, we’re leaving room for audiences to imagine and interpret. I’m a firm believer that I don’t want every member of the audience to come out of the theatre having the exact same thoughts. I think removing several stage languages allows them to fill in with their own experiences. 

As a director, what are some themes you constantly explore? And how is Will You Be My Witness similar to or different from your past productions? 

LYC: Most of my productions are very much exploring the concept of existentialism. I question a lot about our worth as human beings in this world. But specifically on this production, I got engaged early this year, and that also shifted my perspective on things. This idea of a constant partner to witness your life, all the ups and downs, is very strong to me, personally. 

I feel like everyone is looking for that constant in their lives. Think about that time you were a kid and you got up on stage because you won an award. You’re looking for your parents in the crowd, and you get happy when you find them seeing you up there. It’s nice to achieve something, but it’s different when you know someone was there to share it with you. It’s that kind of feeling.

What other elements of the show did you pay close attention to?

LYC: While I’m pushing dance to the forefront, audiences can look forward to our use of projections, lights, and play on shadows. I was very intentional with these being emphasised as well, and having all of these elements rely on each other. They’re all equally important. 

Of course, whatever I’m doing is nothing revolutionary. All these tech and tools have been used before. But I wanted to focus on them because of this growing digital AI world we’re living in now. Social media was created to build connections, but I feel like it only made us disconnect even more. Being witnessed online is very different to being witnessed in real life. Through sound, lights, and shadow, I’m hoping to capture that message as well.

Lastly, why do you think people should come to watch Will You Be My Witness?

LYC: I think the message of the show will resonate with people a lot. Apart from the theme of humanity’s desire to be seen and acknowledged, it’s also about finding appreciation and gratitude for a person or people who have been a constant in your life. We tend to take these people for granted, and this show is a reminder of those who have endlessly shown up.

I think this show will also speak to people who are still searching for themselves and finding their own true identity. That’s an endless journey, I feel, but I hope Will You Be My Witness helps us to question and ponder what identity really means. Do you find it through yourself, your work, or your relationship with others?

KS: There are so many reasons to come and check out the show! Firstly, the topic is very relevant to us in this social media-driven world. Secondly, I want to give a shout-out to my dancers. I’m very proud of them, and I think they are some of the best dancers available in Kuala Lumpur. They all have unique dance styles, and because of that, we were able to come up with new, interesting ways of moving that might be very innovative to watch.

Not to forget Choy’s vision of how he blends the theatrical aspect of his practice with dance. The music is amazing, the dancing is great, and the aesthetics are stunning. What more can you ask for? 

Will You Be My Witness runs from 26 to 29 June 2025 at Damansara Performing Arts Centre (DPAC). Purchase tickets here.

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