The popular theater group has done it all.

From the romantic Sampek Engtay and Roman Yulia, the soul-gripping Ibu (Mother) to the comical Opera Kecoa (Cockroach Opera) trilogy, Teater Koma has consistently found the right formula to present a satirical take on human nature.

Since March 1, 1977, Teater Koma has produced 132 plays, both original and adaptations, including current production Demonstran (The Demonstrator), for television and stage. The group has gradually gained a loyal audience.

Group manager, account executive and actress Ratna Riantiarno said that after 37 years, Teater Koma was still working on drawing audience.

'€œYou could say we go door-to-door to schools and universities, holding workshops and sample performances,'€ she told The Jakarta Post.

She acknowledged that the group, as well as other theater troupes, still encountered difficulties in production due to several factors including a lack of attention from the government in providing adequate facilities, such as quality playhouses.

'€œNot many in the private sector are interested in theater, while the theatrical appreciation of the public is still not as high as its musical appreciation,'€ said Ratna, who founded the group with husband Nobertus Riantiarno, the playwright and director.

In each production, the group, which has seen many of its plays banned due to them not sitting well with the regime, has spent a longer time finding sponsors and donors.

'€œCigarette companies came, but we said no,'€ said Ratna.

A non-profit group (none of the actors and actresses have working contracts with Ratna), Teater Koma heavily relies on ticket sales to determine payment for the cast
and crew.

'€œThe group was established on the idealism of its actors and actresses. This is not the right place to make money. I always suggest they [the actors and actresses] make money elsewhere.'€

Although seats are usually sold out, ticket prices ranging from Rp 75,000 (US$6.60) to Rp 300,000 can hardly cover production costs as they could spend three months rehearsing.

'€œUsually, we have extra expenses for this artistic work. Money-wise, it'€™s a waste, but nothing can stop creative work,'€ said the veteran actress.

To make ends meet, she said, she provided a special row in the theater for donors who bought the tickets above the regular price.

'€œMany people have advised us to perform in smaller venues with higher ticket prices and shorter stage periods. It would cut production costs a lot if we only performed five days instead of two weeks,'€ she said. '€œBut we declined to do so as we want to give a chance for a wider audience to see us perform.'€

When they staged Kenapa Leonardo?, a four-and-a-half-hour play adapted from Evald Flisar'€™s What about Leonardo?, without music accompaniment and comedy scenes in 2008, many from the audience told Ratna that although the play was unlike other Teater Koma productions, they went home with the usual self-contemplation.

'€œA transgender among the audience got furious while others laughed at some scenes, arguing that they were, in fact, a tragedy for the main character, who is transgender. But the person later could accept it after Mas Nano told him '€˜comedy is the zenith of tragedy'€™,'€ Ratna said, referring to her husband'€™s nickname.

'€œBy producing a different play concept each time, in some way we educate our audience,'€ she said.

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