On 21 April 2025, I had the opportunity to watch Tenggelamnya, a compelling theatrical production staged at Revolution Stage, Petaling Jaya, as part of the Arti 2.0 competition focusing on climate change. Directed by Irfan Iskandar, the play featured a talented cast including Dila Abdul Halim, Sunio Rushairi, and Saiful Mikael. This review examines the production’s strengths and areas for improvement, focusing on acting, directing, and aesthetics. One of the most notable strengths of Tenggelamnya is its casting, which impressively brought together three generations of actors such as adults, youths, and children. This rare approach enriched the storytelling by providing a layered perspective on the themes of loss and memory.
The actors’ varied ages added authenticity and depth, highlighting the continuity of grief and resilience across generations. This initiative not only enhanced the narrative but also contributed positively to the local theatre community by empowering performers of different age groups. The script itself is emotionally charged and impactful. It explores the profound experience of loss of a father, a wife, and ultimately a child and the struggle to reconcile with painful memories. The narrative’s emotional weight was effectively conveyed, inviting the audience to journey alongside the characters as they grappled with their grief.
The production’s mature handling of these themes allowed the audience to connect deeply with the story. Director Irfan Iskandar’s vision was clearly reflected in the production’s smooth flow and audience management. The pacing generally allowed the story to unfold naturally, and the director’s interpretation of the script into a cohesive visual and thematic whole was commendable. Particularly impressive was the scenography, which used the stage space creatively to represent a home through geometric forms. This strong “make believe” element helped ground the story in a familiar setting, enhancing the audience’s immersion and understanding.
However, the production was not without its challenges. Despite the effective use of space and thoughtful composition, there were moments especially in scenes set within confined spaces like bedrooms where actor placement felt cluttered and uncomfortable. This congestion sometimes limited actors’ movements and affected the naturalness of their performances. Additionally, the pacing occasionally suffered from monotony, with certain scenes dragging and risking audience disengagement. A more varied pacing could have maintained dramatic tension more consistently.
From an acting perspective, while many performers demonstrated comfort with their roles and the language of the script, there were instances where emotional intensity overwhelmed character objectives. At times, actors appeared to lose focus on their characters’ intentions, which disrupted the narrative’s emotional flow. This was particularly noticeable among the child actors, whose energetic performances sometimes lacked sustained character focus, affecting the overall coherence. The script’s repetitive elements, though not problematic in content, posed challenges for memorization and delivery, potentially impacting performance consistency. Streamlining these repetitions might improve clarity and maintain audience engagement.
Finally, the set and prop management could be improved. Some elements appeared cluttered or underutilized, suggesting a need for better organization and purposeful use of stage resources to avoid waste and enhance functionality. In conclusion, Tenggelamnya is a powerful production that successfully conveys deep emotional themes through a well-rounded cast, mature direction, and meaningful visual design. Addressing issues related to actor staging, pacing, character focus, and set management would further elevate the production’s impact. Nonetheless, the play’s emotional resonance and thematic clarity make it a significant contribution to contemporary Malaysian theatre.
No comments:
Post a Comment