Ridhwan takes the initiative to explore new territories in literature by transforming plays into theatrical story-telling experiences. The three playlets (short plays) invite the audience to critically think about the complex topics of life and death in different dimensions. In
Berat Dosa Siapa Yang Tahu?, the macho sausage man explains the levels of hell and heaven where people are placed after weighing their sins. Contrastingly, the angel of death, Ismail in
Erti Mati tells Tsabur that when he dies, he will become “everything and nothing” in the cycle of existence. Watching these two parts, I had to take a moment to ask myself - What would happen to me, or anyone, in the afterlife after we say certain words and do certain things in this life ,?
Kurator Dapur’s dialogue showcases two contexts –the art world and at home – that makes us reflect on our own roles in life, career and relationships. For example, the wife sees the groceries as part of their upcoming exhibition but the husband wants to buy groceries to use together at home. This leads to a huge argument because the husband didn’t tell the wife of his intentions earlier. Their conversation raises the importance of communication so we can understand the differing contexts of what we say and do.
Believing in sustainability, Ridhwan encourages the actors to utilise any materials and spaces that are available to them. For this series, the staging and set design were very creatively done. Both
Berat Dosa Siapakah Yang Tahu? and
Kurator Dapur were filmed in a park, complying with social distancing measures, while
Erti Mati was filmed at home. The adaptation and improvisation showcased a great balance of acting and puppetry.