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.