Angkara by Lentera Kata: On Marriage, Parenthood, and Emotional Maturity

Lentera Kata invites you to Angkara, directed by Sergius Derick Adeboi and adapted from Yasmina Reza’s God of Carnage (2008). Starring Putra Anas Pambudi, Fadhillah Azzahra, Yaffa Zaida, and Rizky Septian, Angkara is a satirical play exploring the complications of marriage, parenthood, and emotional maturity. The play revolves around two pairs of parents trying to resolve their children’s playground dispute, which ultimately leads to heated arguments that reveal their true characters.

With only one set and four actors, Angkara tackled not only the aforementioned themes but also the consequences of pride, issues of gender norms, and the necessity of healthy and constructive communication within domestic life. The stage is set in Michael and Veronita Wicaksana’s home (played by Rizky Septian and Yaffa Zaida), specifically in the living room, where the warm lighting and furniture accentuate the cozy atmosphere, which would later be contrasted by the intense dynamic of the characters. Furthermore, the costumes offer a glimpse into the lives of the married couple, showing how sophisticated and passionate they are about their own interests but ultimately neglectful of the needs of their partners.

The focal point of this story isn’t just between the two married couples against each other, but also against themselves. The audience is led to believe that the pairs have contrasting personalities and dynamics, only to witness that both pairs are equally immature and petty. Michael and Veronita seem to get along better than Alan and Anita Budiman (played by Putra Anas Pambudi and Fadhillah Azzahra), but they too have their own disputes, one that arguably is more convoluted than the latter pair. On the other hand, Alan and Anita are the reverse—despite their disputes, the two seem to care deeply about one another, but Alan prioritizes his work and ego more than his parental duties, which Anita is upset about.

​The play does not tell you to take sides, as it does not have a conclusion on who is the better pair. Both pairs are directed and written to be imperfect and nuanced, thus revealing the reality of marriage—that marriage should be about letting down one’s ego and communicating one’s needs and priorities clearly and sincerely. In the director’s note attached in the official booklet, Sergius explained that by using satire as an approach for this adaptation, the audience gets to see how a conflict between married couples reflects a broader social issue. Not only is this reflected in the engaging and funny debates that all sides have against each other, but also in their respective perspectives on parenthood and duties in marriage.