Teater Koma still packing them in with 'Sampek Engtay'
Teater Koma still packing them in with 'Sampek Engtay'
By Endi Aras
JAKARTA (JP): In celebration of the Lunar New Year, Teater
Koma is restaging Sampek Engtay, the legendary Chinese romantic
comedy centering on the concealed identity of the protagonist.
Directed by N. Riantiarno, the play opened on Tuesday and will
run until Feb. 10 at Teater Tanah Airku in Taman Mini Indonesia
Indah in East Jakarta.
In the latest run, Riantiarno keeps the original storyline but
changes the setting to Indonesia instead of China. The narrator,
Salim Bungsu, says the place is Batavia, the old name of Jakarta,
and names like Glodok, Jakarta's Chinatown, are used.
The stage arrangement is predominantly red and gold with lots
of Chinese ornaments. A large picture of a laughing bald, chubby
bare-chested Chinese god dominates center stage. The picture
brings the real "Chinese atmosphere"; jovial and full of laughs.
The impression is enforced by the cast's costumes and makeup,
which gives them the appearance of real Chinese.
Like other folk theaters, the actors and actresses remain at
the side of the stage together with the musicians. This allows
them to communicate easily. Despite this physical proximity,
Riantiarno creates irony as an actor uses a remote control
whenever requesting the playing of music.
The story begins with Engtay (Sari Majid), who hails from
Serang, meeting Sampek (Idris Pulungan), a man from Pandeglang,
on her way to Putra Bangsa Betawi School. Sampek is accompanied
by Sukiu. Engtay treats Sampek as her brother and the latter is
unaware that she is a woman. Their teacher places them in the
same room in the school's dormitory and they share the same bed.
Engtay considers Sampek's innocence to be folly and, loving
him more and more every day, begins to run out of patience.
Unable to stand his "foolishness", Engtay eventually tells him
about herself. On learning Engtay's true identity, Sampek
immediately falls in love. They pledge to live together forever.
The scenes proceed freely, sometimes amusing and at other
times touching. The acting and dialog are natural; good-taste
humor abounds as the entire cast has fully mastered the roles
they have played time and again.
Sari Majid and Idris Pulungan have played their roles since
the drama was first staged by Teater Koma in 1988. The group has
performed Sampek Engtay most often in its repertoire.
Sampek Engtay was banned in Medan in 1989. Several months
earlier, Riantiarno was reprimanded by the State Intelligence
Coordinating Body (Bakin) for featuring the Barongsai lion dance
when staging the play at Gedung Kesenian Jakarta. At that time,
Chinese cultural shows in public were banned by the New Order
government. But the security authorities allowed Sampek Engtay
after reaching a compromise with Riantiarno.
Every show was a full house and schedules were often extended.
The narrator, Salim Bungsu, is a great help for the audience
in understanding the story. With his humorous storytelling style,
he is able to smoothen the transition between scenes and create
joyful, moving and humorous stories. He also provides behind the
scenes stories to the audience.
The role of the narrator is crucial, especially because Sampek
Engtay has 12 versions.
Sampek Engtay is internationally popular and Teater Koma has
always been successful in every performance, which is always
preluded by lion and pekingsay dances.
The key to success is the colorful concoction of dances, songs
and humor, supported by appropriate costumes and makeup. Lyrics
of the songs are especially meaningful, with the soulful songs
particularly notable.
Riantiarno also innovated in the songs, which were arranged by
Idrus Mardani with traditional musical instruments.