Teater Koma's 'Opera Primadonna' flows lightly, amusingly

By Tuti Gintini

JAKARTA (JP): Old and no longer attractive, Miss Ketjoeboeng has lost her popularity as the primadonna of a theatrical group. Yet she insists that she be considered the only primadonna in the company. She has found it difficult to reconcile herself with the reality that a new primadonna, young and beautiful Miss Kedjora, has emerged.

"There is only one primadonna. The others are simply insignificant accessories," Miss Ketjoeboeng says.

To maintain her existence as the primadonna, she can justify any means: intrigue, provocation and even black magic. Her single goal is to destroy the new primadonna.

It is this rivalry between the two primadonnas that has become the plot of Opera Primadona (The Primadonna Opera) that Teater Koma is now performing at Teater Tanah Airku (TMII). The performance began on July 28 and will run through to Aug. 13.

It seems that Robertus Riantiarno, the play director, who has written the script, does not only want to dwell on the bitter rivalry on stage but also more seriously about matters socially relevant to Indonesia's present condition. The words of Miss Ketjoeboeng (played by Ratna Riantiarno and Sari Madjid) seem to reflect the present Indonesian condition.

As for the word "primadonna", it may have a wider interpretation when it is understood as power or leader. The loud claim that "I am the primadonna and there is only one primadonna; the others are simply insignificant accessories" seems to hint at the difficulty that Indonesia is facing in embarking on a new stage, getting rid of the New Order influences, eradicating corruption, collusion and nepotism and taking Soeharto to court.

Miss Ketjoeboeng repeats these words time and gain, considerably discouraging Miss Kedjora (Ine Febriyanti and Sri Yatun Arifin) to proceed in her career as the new primadonna. The old primadonna has such a strong influence that anything the new primadonna does will always be wrong and obstructed.

When the old primadonna has fallen into the abyss of misery, like a heap of garbage with nobody heeding her, she continues to shout agitatedly. She sobs over her bad fate. She is pelted with bad eggs, rotten tomatoes and stones, making her head bleed.

"Nevertheless, I am still a primadonna and there is only one primadonna. The primadonna will not die unless she is shot ... bang, bang!" she said, placing her index finger on her brow.

Finally, Miss Ketjoeboeng dies. She dies not because she is shot but because she takes her own life by setting fire to herself, her wealth and the opera house. Her cronies have been bankrupted and go away. A tragic ending which may find the right context in the present condition of Indonesia.

Mere entertainment

Unfortunately, everything evolves very easily and what actually constitutes the essence of the story is presented only briefly, without sufficient emphasis. Riantiarno concentrates more on presenting a play that entertains the audience with singing, dancing and humor. There is no room for contemplation upon life itself.

From the very beginning Teater Koma has created its image as an entertainment group oriented only towards making the audience laugh and be happy together.

The essence of the story has also lain hidden behind the posh costumes and all-electronic stage setting. The rotating stage, the special effects depicting a burning flame as if licking the entire theater, flying geese and other elements demonstrating the superior edge of technology have all rendered the story line very light so that the audience can go home without any contemplation.

Also, all these modern gadgets have in a way satisfied the audience for paying Rp 150,000 of entrance ticket to a theatrical house in a remote part of East Jakarta.

Within this framework, the performance of Opera Primadona cannot be evaluated from the point of view of a work of art. What Riantiarno has done is to recycle what existed before. That's why, national press figure, H. Rosihan Anwar, said upon seeing the performance, that Opera Primadona reminded him of a stamboel performance in the 1930s.

However, it is not without struggle that Riantiarno himself has opted for a performance style resembling that prevailing in the old days. After years of hard work fostering the tastes of his audiences, he has successfully established his own performance management, allowing him to have a grasp of his audience, those who will come to his performances regardless of venue.

Attracting the audience with stage technique and pampering them with props rich in colors should be seen in the context of entertainment. Anyway, social criticism, once the trademark of his theatrical performances, has virtually lost its significance. Criticisms lodged in the streets, in the parliament and in campuses are harsher and more transparent.

Now there is no more suppression. Therefore a play cannot express the community's non-existent fury over past circumstances. And Teater Koma with its Opera Primadona is in earnest only as a means for people to laugh in amusement.