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

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.