LAST week, my team at the Performing Arts Centre of Penang (penangpac) were busy updating our ticketing system to follow the crowd-distancing standard operating procedures (SOPs).
This was done in preparing ourselves for one of our upcoming shows, planned to be staged in two weeks’ time at our black box theatre.
For those who are not aware, the seating guidelines for creative industries such as performing arts centres clearly state that there must be a 1.5m distance from one audience seat to another.
As a result, the new seating arrangement only allows 28 seats per show, compared with 114 seats previously (at 100% capacity). We were heartbroken.
The decision to stage shows was made not only to continuously offer the theatre experience to our patrons, who have been deprived of it throughout the movement control order (MCO), but also to help us financially by earning from ticket sales.
Unfortunately, no thanks to the SOPs, we end up operating at a loss.
For your information, due to the 1.5m social-distancing guidelines set by the government, we lose a total of RM12,040 from the 344 unoccupied seats throughout our four scheduled shows.
Even if we manage to put on a full-house performance, with only 28 seats to offer per show, we cannot even cover our venue cost. At least when the theatre was allowed to operate last July, we were able to offer 57 seats by skipping a seat between every occupied seat – and we thus managed to break even.
As upsetting as it was, nothing could have angered me more than what came next.
As we were contemplating our next strategy to save us from the financial crisis we are currently facing, I received an email requesting me to attend a meeting in Kuala Lumpur. Upon getting my permit to cross borders, I booked my train ticket online, and hopped onto the electric train service by Keretapi Tanah Melayu Bhd.
As I entered my coach, I was shocked to see rows of seats without any cross marks on them. I asked an attendant if the social-distancing SOPs were enforced on the train. However, he simply dismissed my question by asking me to sit according to the seat number printed on my ticket.
I walked along the aisle, searched for my seat, and realised all the seats were twin seaters. Shortly afterwards, a man unloaded his luggage onto the compartment above our heads and sat beside me. His shoulder rubbed against mine, and so did his thigh.
As people continued to occupy the seats, it hit me then that I would be spending four hours in the air-conditioned coach – without any social distancing whatsoever.
Whatever happened to the 1.5m seating-distance SOPs forced upon creative industry players when public transportation is allowed to operate at full capacity?
Why is the government picking sides over which industry to support and which to step on?
I asked the stranger sitting next to me if he was comfortable with the non-social-distanced seating arrangement inside the train. He smiled. Apparently, he takes the train every week, and there has never been any social-distancing SOPs practised on board the train to the best of his knowledge.
I explained to him about the 1.5m social-distancing rule applied to seating arrangements in the theatre, and he shook his head.
“1.5m social distancing at the theatre to watch a one- to two-hour show, and 0m social distancing in a four-hour train ride,” I said.
“That’s ridiculous. Who makes these decisions?” he asked.
I smiled, bitter. The truth is, that is something I’d like to know as well – who is responsible for these double-standard decisions anyway? – The Vibes, March 31, 2021
Fa Abdul is publicity manager of the Performing Arts Centre of Penang (penangpac)
