Mano Maniam in a 2007 Kuala Lumpur production of 'Krapp’s Last Tape' by Samuel Beckett. The distinguished Malaysian actor - a towering figure in theatre, television, and film - passed away early this morning (May 31) in Kuala Lumpur. He was 79. Photo: Handout
Manogaran Maniam, or better known as Mano, the distinguished Malaysian actor, arts advocate, educator and cultural anthropologist – an extraordinary multi-hyphenate whose presence shaped the nation’s performing arts landscape – died peacefully early this morning (May 31) at home in Brickfields, Kuala Lumpur. He was 79.
His younger brother, Madi Maniam, confirmed the news to Bernama earlier today.
"His passing was due to old age and occurred naturally. However, further details have yet to be finalised with the family. The funeral is expected to take place this Monday at Bliss Gardens, Shah Alam," said Madi.
News of his passing has also prompted tributes from The Actors Studio, PEN Malaysia, actor-director Jo Kukathas, performing arts outfit theatrethreesixty, and many others on social media.
To the mainstream audience, Mano was best known as the meddlesome “Uncle Chan” from the beloved late-1990s, early 2000s television series Kopitiam – a role that brought him widespread recognition and endeared him to a new generation of viewers.
The cast of the late 1990s TV series 'Kopitiam' (from left): Rashid Salleh, Mano Maniam, Lina Teoh and Douglas Lim. Photo: The Star/Filepic
Born in Ipoh on Nov 13, 1945, Mano rose from humble beginnings to become a towering figure in Malaysian performing arts for over five decades.
As a child, he was captivated by the colourful sandiwara performances at the night market on Jalan Leong Boon Swee by the Kinta River in Ipoh.
“Every Saturday night, villagers would come to sell their wares and socialise,” recalled Mano, who lived nearby on Lahat Road, in an interview with The Star in September 2005.
“In the middle of it all was a sandiwara — usually Malay folklore like Hang Tuah, the Hikayat Melayu, or even the Ramayana.”
“I was four or five, and the older kids would lift me just high enough to see the feet of the transvestites performing. It just fired my imagination.”
At Anglo-Chinese School (ACS) Ipoh in the early 1960s, Mano discovered Shakespeare and also a nurturing theatre community - a passion that later brought him back as a teacher, inspiring others as he once had been.
“I started out with Shakespeare, so I owe the Bard big time! Nobody told me it would be so difficult,” recalled Mano in an interview with The Star in April 2016.
“There are ways of doing Shakespeare well, and many ways of killing it. The iambic pentameter doesn’t come naturally to Asians, after all — the patois here is so varied,” he added.
At 15, Mano began his lifelong love affair with the stage, stepping into the spotlight as the sea captain in Twelfth Night in an ACS Ipoh production. From that first voyage, his career set sail - charting a remarkable course through the worlds of theatre, film, and education with steady conviction and enduring grace.
In 1985, 'Adorations' stood out as a significant local theatre work - an Odissi dance performance framed as a dialogue between guru (Mano Maniam, pic) and disciple (Ramli Ibrahim). Photo: Sutra Foundation
Whether taking on Shakespearean leads, performing Beckett monologues, or appearing in international productions like Anna And The King (as the wise Moonshee) and Netflix’s Marco Polo, he brought a quiet intensity and presence that transcended language and genre.
On the local movie front, Mano will be remembered for his roles in the cult detective film Mat Gelap (1990), the gritty big city drama Kolumpo (2013), and the acclaimed Barbarian Invasion (2021).
His deep, resonant voice, commanding stage presence, and gentle wisdom made him not just a household name, but also a mentor to generations of theatre practitioners and students alike.
Highlighting his playful side, Mano also found a young audience when he voiced Tok Din in the English-language adaptation of the animated series Kampung Boy, inspired by Lat's comic book series.
Throughout his long career, Mano moved effortlessly between the intimate spaces of theatre and the global reach of screen.
On local television, he was a familiar and grounding presence in both English and Tamil dramas, further cementing his role as a cultural bridge across communities.
A lifelong student of the arts, Mano added “Fulbrighter” to his resume in 2001, when he received the Fulbright Distinguished Artiste Award — a grant to pursue research in drama and theatre arts in the United States.
Even in his later years, he remained a tireless force in the arts scene. Well into his early 70s, Mano lent his rich, resonant voice to narration work and found joy in teaching acting to senior citizens at the Kuala Lumpur Performing Arts Centre (KLPac), continuing to nurture creativity in others.
“Sometimes older people can feel left out, forgotten, unimportant — as if they’re being indulged rather than truly heard. But these are the ones who lived through the time of Tunku Abdul Rahman and Merdeka. They carry so many stories within them, and I want to use theatre to help bring those stories out — to have them recognised and passed on,” said Mano, speaking about the "Theatre for Seniors" workshop series in an interview with The Star in October 2013.
Just last December, Mano's voice brought poetic dimension to Meniti Cakerawala: The Science & Romance Of The Cosmos, an ambitious theatre production that, fittingly, married science and wonder echoing the same balance of intellect and soul that defined his life’s work.
