Looking at mise-en-scene, the performance is quite abstract and minimalist, using a few props

and a simple set, which helps these and other elements like light and sound stand out. Commented [RL1]: Avoid short paragraphing – not 
appropriate for academic essays 

Light stands out throughout the play, in the form of a background projection. Its effectiveness

in conveying thought process and understanding is easily readable to audiences. Throughout

the play, it assists audiences in subtitling Marzuki’s dialogue, at the expense of paying full

attention to Marzuki himself. As they parked subtitles at the side screen, it contributes more

effectively to the idea that watchers are distracted from ever knowing what is fully going on

behind detention, one of the themes of the performance. As for projection in front, it provides

insight into the psyche of characters: for Marzuki, the news ticker format when he first enters

detention shows the passing of his thoughts and days, which eventually become so convoluted,

as a sign of his mind passing through his time spent. For Kartini, when she becomes consumed

by her plants, the greenery background shows her state of mind, perhaps shrivelling back into

her own comfort in her garden. They display a series of pictures that serves as foreshadowing,

effective in helping the audience piece together what is happening. Images of Kartini leaving

in a cab while Juliana is in pain are seen right before the scene where Kartini is leaving for her

business and Juliana stays to protest begins. Elsewhere, Kartini departing with different hair

and Juliana with new glasses, shouting into a megaphone to show Kartini’s wayward path and

Juliana’s rise to the position of Prime Minister, is a call-back to her protesting nature in fighting

for her grandfather’s exoneration remaining in her. These readable images help process story

flow for audiences. Commented [RL2]: Good 

The use of light ties in very well with sound, in the range of music pieces used for the

performance. Different points of the play see different pieces used, often gravitating towards

minor notes in a piece, denoting more saddening occasions. During Marzuki’s initial time in

detention, a moving piece with mostly minor notes plays while the the projection of his psyche

ensues, evoking sorrowful emotions in audiences. This same piece recurs together with
projections of images during scenes depicting Marzuki’s pain, such as his recognition of being

trapped not just in detention but his own thoughts, realising after the signature incident that he

would not get to see his family, and his daughter pleading with him to let her go. These

moments heighten the anguish Marzuki goes through, a pain strongly felt by audiences as well.

Another piece showcases sadness within the family, when Kartini realises Juliana kept her in

the dark about her father’s letters and photographs, and after the family’s break-up, adding to

the poignancy of the play that audiences experience. Commented [RL3]: good 

Set design shows a simple setup of adjustable wooden platforms, perhaps confusing to

audiences at first, but indirectly aids in storytelling. The platforms shift up and down

throughout, demarcating Marzuki’s detention cell, or Kartini and Juliana’s home. It further

shows the separation between mother and daughter over the course of the play, seen in how

each person frequently stands on opposing sides, while the platforms are never fully aligned,

showing the crack in their relationship because of their circumstances. There are times when

the platforms act as the bridging gap, when Juliana persuades Marzuki that she would fight for

societal change, as she pushes the middle platform in full alignment for Marzuki to cross.

Partial bridging occurs when Juliana crosses over to Kartini to ask her to get back up, where

Marzuki helps to shift the platform for Juliana to walk across. These convey to audiences

varying levels of success in bridging relations; successfully in Juliana’s stand for societal

change, or unsuccessfully in mending Juliana’s and Kartini’s relationship. The platforms are

not in camera view during the fight scene but can be heard when the two hurl profanities at

each other, where Marzuki tilts a platform and the loud crash sound is heard, one of the best

uses of the set in showing the relationship breakdown during the play. Commented [RL4]: good 

The use of gestural space and props also help in telling the story. The biggest example would

be Marzuki being on stage the whole play, working with either lack of light or platforms to

hide, but reveal to audiences the perpetuality of his suffering in detention. As a three-man play,
the actors use gestural space to define the environment and action. Examples are Marzuki being

blindfolded, being beaten up, standing with the officer, or waving to his family, or Kartini and

Juliana ducking to the platform to hide from their domestic helper, without any props or

characters, yet we understand what is going on. These can be compared to physical props used

to reveal to audiences the themes of hope and pain. For Kartini and Juliana, objects related the

loss of Marzuki are not present, such as phones that relate to the call received, or remote

controls used to stop the song “California Dreamin’”, a dreary song saying that times could be

better, while props like laptops and megaphones representing hope for change are visibly used

by Juliana for protests, and wine and suitcases to show Kartini’s state of eventual nonchalance

towards Marzuki. For Marzuki, hope is visible in the toilet paper he is writing on, perhaps

letters that Juliana will get, the key from Juliana to open the box of memories, clothes to change

into freedom, or the toothbrush he uses to communicate, which works effectively in the sound

it produces on the platform that audiences experience. On the other hand, his desolation is seen

in imagined objects that do not provide hope, such as the repeated sandwich and tea seen that

remind him of where he is, or the confession form that condemns him to life in detention. These

objects, imagined or actantial, help audiences better grasp the emotions of the characters, and

the underlying themes of hope and pain in the play. Commented [RL5]: needs further development 

Word Count:1000

Gabriel,

Apart from one or two ideas that can needed further development,
this is an excellent piece of performance critique.

Grade: A