‘Kabaret Oriental’: It’s all in the family
the family. And then there is the mysterious woman who is rumored to be getting closer and closer to Robert. Paired with the fact that Robert’s bills lately involve plenty of luxurious trips overseas, could it be that he is involved with a gold digger?Despite the upper-class setting, the cabaret features issues that occur across classes, such as value clashes, prejudice and family ties. In a hip, lighthearted way, it also unabashedly touches, albeit briefly, upon subjects such as homosexuality, relationships between different ethnic groups and corruption. The dialogue, which often involves witty jokes, is carried out with various Indonesian dialects, such as Manado (from North Sulawesi) and Javanese, portraying how the Cina Peranakan (Chinese-Indonesian) culture itself is heterogeneous. The cabaret stars noted names such as Cynthia Lamusu, Uli Herdinansyah, Sarah Sechan and Ary Kirana.It features exquisitely designed costumes, especially the ones involving the use of batik, and vibrant, creative graphical works, multimedia and stage settings. One of the scenes that drew big applause from the audience during Monday night’s showing at the Jakarta Art House (GKJ), saw shadow-puppet techniques combined with dancing, to tell the story of a lavish lifestyle. Scenes performed by members of Sahita dance troupe, comprised of four women from Surakarta, Central Java, also drew applause and laughter due to their satirical lines that occasionally involve sexual humor. “We showed the lives of Cina Peranakan because, actually, they have played a large role in developing Indonesia’s culture. We think it is about time that Indonesians admit that there are plenty of foreign elements that complete the country’s culture,” the program handed out to audience members says. Nanang Hape, who directed the cabaret alongside Rusdy Rukmarata, says that some of the characters are based on real ones. “That [those characters] went through a little distillation because this is a show, that is true, but such characters, more or less with those characteristics, do exist,” he says. Anak Emas Juragan Batik succeeded in providing insight of various issues in a fun, colorful way. However, for a cabaret, it may need to be even more daring, especially in its choreography. The dances, although already dynamic, still seemed a little guarded and at times still left the stage feeling a bit empty. Several characters in the play also left questions hanging in the air. Maureen, Robert’s younger sister, for example, is supposed to be a 17-year-old, but at times her lines sounded like they belonged to a much younger character. The character El, who is depicted as Maureen’s friend, is also still apparently in need of stronger statements to clarify her role in the story. The cabaret, which is the 22nd production of EKI Dance Company, is set to play from March 20 to 24 at the GKJ. It is fully supported by Djarum Apresiasi Budaya foundation. redskins|all my children|jacqueline kennedy|cathedral high school|high school musical
the family. And then there is the mysterious woman who is rumored to be getting closer and closer to Robert. Paired with the fact that Robert’s bills lately involve plenty of luxurious trips overseas, could it be that he is involved with a gold digger?Despite the upper-class setting, the cabaret features issues that occur across classes, such as value clashes, prejudice and family ties. In a hip, lighthearted way, it also unabashedly touches, albeit briefly, upon subjects such as homosexuality, relationships between different ethnic groups and corruption. The dialogue, which often involves witty jokes, is carried out with various Indonesian dialects, such as Manado (from North Sulawesi) and Javanese, portraying how the Cina Peranakan (Chinese-Indonesian) culture itself is heterogeneous. The cabaret stars noted names such as Cynthia Lamusu, Uli Herdinansyah, Sarah Sechan and Ary Kirana.It features exquisitely designed costumes, especially the ones involving the use of batik, and vibrant, creative graphical works, multimedia and stage settings. One of the scenes that drew big applause from the audience during Monday night’s showing at the Jakarta Art House (GKJ), saw shadow-puppet techniques combined with dancing, to tell the story of a lavish lifestyle. Scenes performed by members of Sahita dance troupe, comprised of four women from Surakarta, Central Java, also drew applause and laughter due to their satirical lines that occasionally involve sexual humor. “We showed the lives of Cina Peranakan because, actually, they have played a large role in developing Indonesia’s culture. We think it is about time that Indonesians admit that there are plenty of foreign elements that complete the country’s culture,” the program handed out to audience members says. Nanang Hape, who directed the cabaret alongside Rusdy Rukmarata, says that some of the characters are based on real ones. “That [those characters] went through a little distillation because this is a show, that is true, but such characters, more or less with those characteristics, do exist,” he says. Anak Emas Juragan Batik succeeded in providing insight of various issues in a fun, colorful way. However, for a cabaret, it may need to be even more daring, especially in its choreography. The dances, although already dynamic, still seemed a little guarded and at times still left the stage feeling a bit empty. Several characters in the play also left questions hanging in the air. Maureen, Robert’s younger sister, for example, is supposed to be a 17-year-old, but at times her lines sounded like they belonged to a much younger character. The character El, who is depicted as Maureen’s friend, is also still apparently in need of stronger statements to clarify her role in the story. The cabaret, which is the 22nd production of EKI Dance Company, is set to play from March 20 to 24 at the GKJ. It is fully supported by Djarum Apresiasi Budaya foundation. redskins|all my children|jacqueline kennedy|cathedral high school|high school musical
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