EgoPo's International Ramayana
Two Indonesian companies collaborate on an often stunning, though uneven, epic
Ramayana
from the epic by Valmiki
Created by EgoPo Classic Theater with Papermoon Puppet Theatre of Java and Kalanari Theatre Movement of Bali
Directed by Lane Savadove, Maria Tri Sulistyani, and Ibed S. Yuga
June 12-16, 2024
In a tent at the Philadelphia Navy Yard, 5000 S 11th Streeet
Recommended
Opening with a sustained burst of beautiful physical storytelling, Ramayana sets a very high bar for itself that it is unable to sustain for its three hour (with intermission) run-time. Nevertheless. This salvo at the front is perhaps the finest theater I've seen so far this year, an exemplar of what the form—and international, cross-cultural collaboration—is capable of. Surrounded by a Indonesian market, with additional programming from Philadelphia’s Indonesian community, and free lawn seating, if this sounds like it is at all your bag, do not miss it.
Struggling against the oppressive South Philly summer heat, the show loses steam whenever it shifts into a conventional Western style of staging. At times, especially by the intermission that comes at about an hour forty, it really quite drags. The static staging of these scenes lacks a dynamism needed to match up to the physical theater and puppet modes, as if it’s been assembled from disparate parts (if it feels like it's been directed by several different people, that's because it has). It's a shame, as the physical storytelling is excellent, and so are many of the actors, who, by their own training and chops or by the necessities of the physical staging, often deliver excellent vocal work.
Some cliche English dialogue (no writers are credited) doesn't help things along, especially some very on-the-nose anti-colonial politics that are shoehorned in. It's not that these are out of place, per se, but they're so heavy handed. A very family friendly show, heavy handed and cartoonish should be fine, but it crosses the line to either eye-roll inducing or head scratching at times. What’s this overt propagandizing doing in an ancient Hindu epic? Paired with some exposition heavy scenes—maybe unavoidable in trying to tell an epic that's four times the length of the Iliad—the writing is maybe the weakest link here. The multi-lingual scenes are some of the most compelling, often when there's no translation.
The cast is not always evenly talented or skilled at everything they’re tasked with. Gusbang Sada as Rama is a brilliant dancer, for example, but when called upon to speak, the acting skills aren’t there. Among the American company, Ontaria Kim Wilson’s performance was often much less specific than the rest of the cast, save for a few scenes where she has a character with a name, as if phoning in the ensemble parts. With a cast of 18 and everyone in multiple roles, these little roles are all critical to making the show work. They’re critical to making ensemble performance work, in fact, and distinguish ensemble-based work from shows with supernumeraries and underpaid interns fleshing out the background. Though it’s hard to compete with the skills of master artists like Mugiyono Kasido, or Ross Beschler’s excellent vocal work, the cast generally does an admirable job.
The show’s soundscape is a marvel, with live music and sound effects provided by composer/musician J. “Mo’ong” Santoso Pribadi, and multi-instrumentalist Jay Ansill (on the hurdy-gurdy and harp, among others). It rarely draws undue attention to itself while providing an inventive sonic backdrop for the action. Pribadi is an experimental composer and builder of instruments. His participation here is a heavily under-advertised aspect of the collaboration, which provides a score that should appeal to followers of Fire Museum Presents’ programming.
When things lag, the music could have done more to help propel things, but this is a problem of direction. Damien J. Wallace, as Valmiki the legendary author of the Ramyana, delivers a beautiful, moving performance. He carries much of the show on his back. This whole production and festival, the big tent, the puppets (did mention the puppets? no? they’re very cool, the puppets),1 the marketplace,2 the workshops in Indonesia—it's a coup. And it's clear that creating this show has had a huge impact on the lives of these artists, and they’re not afraid to show it.
The last show is tonight at 7:30. There’s gamelan and dance at 3pm and a martial arts demo at 5pm. Arrive early. Bring some cash or Venmo, a lawn chair or blankets and a pillow, and your appetite.
Puppets are cool
Theaters, pay attention: give the people want they want: huge plates of Indonesian food for $10 and puppets.