Disclaimer: This review is part of my personal takes on the works presented at Pesta ARTI 2.0. The thoughts and opinions expressed here are solely those of the writer (i.e. me, myself and I) and do not reflect the views of the organizers, jury, or any affiliated parties. The intention is to engage critically with the work while supporting the growth of indie theater.
Team 10:
By Kejar Tayang
Written by Zariph Kophi
Directed by Aloeng Silalahi
What a fitting conclusion to ARTI 2.0. Gila is a sharp, punchy comedy, making it the second pure comedy script featured in this edition of ARTI. Both comedic entries were well-written, well-performed, and thoroughly enjoyable. Gila, in particular, stands out with its chaotic energy and clever writing that strikes a balance between humor and commentary.
Gila tells the story of Roslan returning to his village with a mission: to protect the environment. However, his past as a former drug addict causes the villagers to view him with suspicion and mock him as gila (crazy). He is met with ridicule and rejection, especially when he warns them about climate change. Only Ramlah believes in his cause. Salman and Bashir, Roslan drug gangs, while appearing to support Roslan, have hidden motives, they're actually in it for the money to buy an air conditioner. Tensions escalate and after being provoked by Bashir, Roslan snaps and kills him. The play then shifts to what seems a memory of Roslan, all that has happened perhaps a memory of Roslan and his guilt killing Bashir. It seems to me that Roslan might have killed not just Bashir, but possibly the other characters too, which could explain the chalk outlines representing each character. The ending suggests a fragmented recollection or hallucination, leaving the audience to question what really happened.
The set was simple. In fact, the entire play area was left bare, with nothing but black walls and the floor marked with chalk outlines, reminiscent of a crime scene. There were about eight outlines in total. Interestingly, each outline functioned almost like a “home base” for the characters when they weren’t in a scene. So, for example, when it was Roslan and Salman’s turn, they would step out of their respective outlines to perform, and once the scene ended, they would return to their spots, making way for the next characters to emerge. This method became the structural rhythm of the entire play.
In terms of staging, I found it efficient. It’s simple, but not lazy. It is minimal without feeling bare, and effective in its delivery. The concept is both creative and innovative, with the direction clearly focused on showcasing the actors' strengths. One clever example of this creativity in staging is during a scene with Pak Dollah, Ramlah’s father, when he asks her to make him a cup of coffee. The “coffee” is represented by a tumbler mug, which he holds during the scene. When the scene ends and he retreats to his chalk outline, he continues to hold the cup. Then, when it’s time for his character to re-enter the story, he simply lets go of the cup and it sticks to the wall next to his outline. It’s a hilarious visual gag, and the mechanism is delightfully simple, which makes it all the more brilliant. It was a small gag, but it landed beautifully, thanks to precise timing and understated delivery. This kind of comedy, simple, visual and well-planned added a rich layer of humor throughout the play. It showed how comedy doesn't always need an elaborated set; sometimes, the smartest laughs come from the quietest tricks.
When it comes to comedy, the writing in Gila is solid. The story’s premise is arguably simple, a man returns to his village to save the environment but is dismissed as mad, yet it works precisely because of its clarity and grounded setup. The final twist adds a clever layer of ambiguity, pushing the play beyond just surface-level humor. The director clearly understands how to work with the script, choosing to foreground the actors’ performances instead of relying on heavy staging or technical gimmicks. This focus allows the humor to shine through naturally, driven by character dynamics and sharp dialogue. By trusting the script and the ensemble’s comedic timing, the production delivers its humor with confidence and precision.
Gila is a fine example of how comedy can carry weight without losing its lightness. It entertains with wit and physical humor, while also leaving space for introspection. The production’s confidence in its storytelling, clever staging, and strong performances made it a standout entry and a fitting finale for ARTI 2.0. With just the right dose of chaos, clarity and craft, Gila reminds us that sometimes, the best stories are the ones that make us laugh first, then leave us thinking long after the laughter fades.
