Teater Koma's 'Sampek-Engtay' back in town

Teater Koma's 'Sampek-Engtay' back in town

Text by Yenni Kwok and photos by Oka Budhi Yogaswara

JAKARTA (JP): Once upon a time, long before Kartini's birth, a
Banten-born, Serang-dwelling Chinese girl already had visions of
women's emancipation.

Engtay yearned to go to school. Disguising herself as a man,
she left her hometown to study at a prestigious school in Glodok,
Batavia (present day Jakarta). She learned not only academics but
also love when she falls for a poor student named Sampek from
Pandeglang, West Java.

The story is based on the traditional Chinese love tragedy
called Sampek-Engtay. But in the hands of Nano Riantiarno, the
director of Teater Koma, the tale is adapted to a local setting
replete with outrageous Teater Koma humor.

Nano's version of Sampek-Engtay will be performed at Graha
Bhakti Budaya at Taman Ismail Marzuki in Central Jakarta until
June 25. This is Teater Koma's fifth production of Sampek-Engtay,
and the first since its Medan production in 1989 was banned when
the local authorities revoked its performance license.

Compared with Teater Koma's other productions, Sampek-Engtay
is slim on political criticism. However, it is their most
entertainment-oriented play and one of the most popular.

Teater Koma has its own reasons for performing Sampek-Engtay
as it celebrates its 20th anniversary.

"Many people are looking for love, without understanding the
meaning of love," said Nano. "If this so-called love is not
distorted, there won't be any stone throwings."

Love

After Engtay (Sari Madjid) reveals to Sampek (Idris Pulungan)
that she is a woman, he too falls in love. Their happiness is
brief.

Engtay's parents, Mr. and Mrs. Ciok (Sri Dadi Adhipurnomo and
Baby Jim Aditya), send their helpers to escort their daughter
home. She is betrothed to Macun (Budi Ros), the son of the
wealthy Captain Liong (Edi Sutarto) of Rangkasbitung, West Java.

Sampek's heart is broken after he learns of Engtay's arranged
marriage. He falls sick and dies. On the way to her wedding in
Rangkasbitung, Engtay passes by Sampek's grave. She asks
permission from her parents and Macun to stop at the grave and
pray for a "friend".

The grave suddenly opens as Engtay finishes praying. Engtay
gets inside, and it shuts firmly again. Furious, Macun and his
father order that the grave be excavated. The only things found
inside are two blue stones and two yellow hornets. As more
excavation continues, two yellow butterflies fly out to the sky.

Nano not only localizes the setting to Batavia and surrounding
cities in West Java, but also turns the supposedly tragic story
into a bawdily funny and witty performance, mocking rigid
institutions and ways of thinking.

Indeed, Sampek-Engtay is not simply a tale of a tragic
romance. It is also a story of tradition versus change,
selfishness versus idealism. Sampek's parents, Macun and Captain
Liong represent the greediness and stringent dictates of
society. The young lovers symbolize pure and idealistic beliefs.

Sari and Idris also played the ill-fated lovers in the
previous versions of Sampek-Engtay. This time, the audience will
enjoy their natural and mature performances. Sari is outstanding
as the feisty Engtay. Her voice becomes lower when she is
disguised as a man, rising to her normal range when she drops the
masculine identity.

Sampek, an honest and quiet man, may appear to be poor comedy
material. But Idris manages to draw out the humor from this
"boring" character. His naive expressions invite the audience's
laughter.

The scene-stealers are definitely the sidekicks: Sampek's and
Engtay's personal servants. Their hilarious acting and fast-
talking dialog are outstanding. The audience lapped up the
appearances of Suhiang (Rita Matu Mona),
Engtay's servant, and Sukiu (Dudung Hadi), Sampek's servant, as
they tested their masters' patience.

Idrus Madani has again arranged the music for Sampek-Engtay.
He and his band use the sounds of Betawi, Sundanese and Chinese
music to convey the mood of one scene or an act.

The poor acoustics of Graha Bhakti Budaya made Teater Koma
struggle to strike an even balance between the actors' singing
and the band's music. The clamor of the music sometimes drowned
out the voices.

Also missing are strong political or social criticism. Some
remain for the astute viewer. In the opening scene, reference is
made to the plight of theater companies, who must always face the
risk of not being able to perform.

Price

Humor and satire are typical of Teater Koma, their tool to get
in digs at social and economic gripes. In a land in which the
bravery to sling such arrows is rare indeed, Teater Koma has won
a place in the people's hearts.

Such boldness comes at a price. Teater Koma productions have
been banned twice. In 1990, only one year after Sampek-Engtay's
abortive performance in Medan, Suksesi, a play about an ambitious
woman who wants to assume her father's powerful position, also
lost its performance permit.

Although no performances have been banned since, Nano admits
that obtaining a permit is not easy. Usually, they receive the
permit just a few days before the performance's premiere. This
performance is no exception, as Teater Koma received its permit
just six days before the opening night.

Uncertainty over permits has also hurt Teater Koma's efforts
to gain sponsors. "Business people always ask beforehand: 'Where
is the permit?'," Nano said.

Consequently, Teater Koma has to finance its own productions.
Semar Gugat (Semar Sues) in 1995 and Cinta Yang Serakah (Greedy
Love) in 1996, the two most recent performances, were self-
financed. A few companies are sponsoring their 80th production.
Several food businesses donated their products, but a real estate
company was alone in providing funding. Teater Koma has to rely
primarily on ticket sales to cover the Rp 100 million (US$40,880)
production costs.

The group has a full agenda for this year. Besides Sampek-
Engtay, they will perform in August's Pastojak, a month-long art
festival featuring performers from around the world. Another
play, Impian Edan (Crazy Dream), is scheduled for later this
year.

Nothing, it seems, will stop Teater Koma as it celebrates its
20th anniversary.