This is not a review of Malaysian theatre companies Sifu Production’s Lo Mio and Chiu Liet and Anomalist Production’s Home, neither is it a critique on the right type Malaysian theatre to be presented. The case I am about to present is the significance of the natural switching of languages presented in Malaysian theatre to this multicultural society. Predominantly Malay in demography, Malaysia is a society composing of Malay, Chinese, Indian and many other combinations from different races. As much as the national language is Bahasa Melayu (Malay), Chinese languages, English and Tamil – amongst others – are also commonly used in everyday life. For the last five years or so, I have grown accustomed to the Malaysian accent, which is subtly different from mine (Singaporean). In my opinion, Malaysians switch codes more efficiently and vernacularly as compared to Singaporeans, who are generally more distinct and clean-cut. It is not a general rule, but a personal opinion. I appreciate the Malaysian accent and the way the peoples switch-code between the languages in everyday life. I had yet to encounter such a wonderful experience in theatres in Kuala Lumpur till I saw the adaptation of Shakespeare’s Romeo and Juliet into a culturally Malaysian production at the Kuala Lumpur Performing Arts Centre and a young people’s theatre production named Home, which raises issues on national and self-identities.