Renny Djajoesman returns to theater in 'Tumirah, The Pimp'
Renny Djajoesman returns to theater in 'Tumirah, The Pimp'
By Helly Minarti
JAKARTA (JP): Theater people have found inspiration in the
country's turbulent times during the past 20 months. Another
entry in the line is Tumirah, Sang Mucikari (Tumirah, The Pimp),
starring and directed by Renny Djajoesman.
The play, to be performed by her Teater Yuka company at 8 p.m.
at Gedung Kesenian Jakarta on Friday, marks Renny's comeback to
the theater.
An expressive actress, she performed in the past for Teater
Mandiri, led by ex-husband Putu Wijaya. Renny's last stage
performance was in 1983, "just before my divorce in early 1984".
She became a noted rock singer and occasionally acted in TV
films. Renny received best actress honors for her role in Cermin
(Mirror) in last year's Festival Sinetron Indonesia.
"I have long wanted to make it (the comeback), but you have to
wait for the right moment," Renny explained.
Personal and other reasons are driving her return. "I'm
turning 40 this year and Yuka, my eldest daughter, turns 17. It's
like a birthday present for her." A single mother, she is also
raising Growong, her son from her second marriage.
Other concerns are involved.
"It is also my intention to work on something meaningful at
this stage of life. I've been deeply restless following the news
in the papers and on TV, all those violent things and the
crisis."
She shared her feelings with Seno Gumira Ajidarma -- "my only
writer friend" -- which started the ball rolling for her return.
"First I wanted to do a monolog, but then why not a drama?"
said Renny, who retains her eccentric dressing style, complete
with colorful bandana and ethnic accessories.
Seno promised to write a script for her. In mid December, he
finished it and Renny quickly did the rest, raising funds and
casting the show.
On Seno's advice, she hired Dindon WS to assist in her first
directing job. Dindon once played for Teater Ketjil and assisted
late director Arifin C. Noer before he founded Teater Kubur in
the late 1980s.
Renny also recruited musician Fariz RM, her frequent
collaborator. Also in her troupe are senior artistic director
Roedjito and a lineup of actors drawn from Teater Yuka, Teater
Mandiri, Teater Kubur and a few from her TV circle.
Seno wrapped a story on confronting violence. It tells about a
brothel in a military operation area which is burned by a ninja-
like gang. The prostitutes are raped and assaulted and have to
live in the continuing terror of the return of the ninjas, who
cannot be identified.
Despite it all, Tumirah the pimp chooses not to face violence
with violence.
"I think that is my message. In this troubled situation let us
go back to what we are, doing what we're always good at. Be
professional," said Renny.
In saying so, she distanced herself from the example of Ratna
Sarumpaet, the female theater director who is now also a
political activist.
Although she once led and directed Teater Adinda, a children's
theater group, in the 1980s, this is Renny's first directing work
in serious theater.
She is nonplused when asked about her style.
"Nothing like Putu's, I hope," she laughed. Aware that her
strong acting grew under Putu's direction as a member of Teater
Mandiri, she persistently intends to explore her own touch.
"Dindon is very helpful in the process," Renny said.
Her assistant said Renny's effort to divorce her style from
Putu was apparent, "but if there is a bit of similarity, it's
quite understandable".
Dindon also said he respected Renny's ideals and tried his
best not to inject his Teater Kubur background into her style. "I
like her energy -- we need more women directors."
Renny has also dared to take some of young talents from her TV
circle, most of whom do not share her solid theater background.
"Ow, yes, it's very, very different," she shrieked of the
approach. "We are from quite different acting disciplines. But so
far they're OK. I had to disqualify some of them though who
failed to meet my standard."
It is not a vanity exercise in which she is seeking to stand
out from her less experienced costars. "I would have failed then.
It's not theater if only one person gets the spotlight."
Fariz RM is making his theatrical debut as music director in
the play.
"I love Seno's works and read most of his short stories. For
me they're kind of filmist. So what I do is trying to interact
with everything on stage and apply some experience I've got from
my years doing the music for films and TV series."
Due to the time limitations, he works with his computerized
MIDI set. "But everything still develops, I change things
whenever I feel the need to."
Renny forgot when exactly she founded Teater Yuka, but it was
"not long after my divorce". The cast rehearsed for the play
during the fasting month and continued only few days after
Lebaran last week. Renny used her father's home in South Jakarta,
turning its spacious front yard into a rehearsal area.
After the premiere, there is a planned three-day run in
Jakarta in March. Renny hoped it would mark a revival in
Indonesia's lagging theater fortunes.
"I'm longing to see Indonesia's theater pick up again like
during its heyday in the 1970s. It has become one of my main
drives, too."