The venue itself is part of the experience. Robert’s Theatre sits on the ground floor of The Campus, a newly opened boutique mall that once housed the International School of Kuala Lumpur.
The site has been thoughtfully renovated, modernised yet still retaining the charm of the old school buildings and their green surroundings. The redesign is attractive, coherent and impressively executed.
Jit’s rediscovered script is a vivid snapshot of late-1990s KL urban life, when artists and musically inclined adults drifted between ecstasy-fuelled nights, techno music clubs, and a confusing blend of old traditions, artistic ambition and substance-driven escapism.
Their promiscuous, city-centric lifestyles feel disoriented – caught between cultural heritage and the lure of drugs and alcohol.
Their search for identity is symbolised through a quarrel over a set of old heritage keris, contrasted with the traditional method of cooking fried rice using a stone mortar, pestle, and granite roller grinder for the ingredients and sambal.
Layered between these scenes is sharp, engaging, brilliantly crafted dialogue that keeps the audience absorbed.
The play is set in the home of Ghani Majid (played by Ghafir Akbar), a reputed Malaysian artist, hosting his circle of friends: an entertaining couple, Fash and Lala (Malik Taufiq and Sabrina Hassan); his flamboyant housemate Sonia (Mae Elliessa); her Aussie ex-boyfriend Sam (Harry Verden); an affable on-the-edge character, Wan (Nabil Zakaria); Sonja’s new fling, Mahfuz (Engku Armand); and Sam’s latest partner, Ade (Mia Sara Shauki).
It is a lively, chaotic mix of ’90s KL characters.
Structured in three episodes, the play takes its time to reveal each player’s characters, their connections, and the underlying tensions that push the plot forward. The production cleverly uses recorded video clips as playback inserts, which help clarify sub-dialogues and enrich each episode.
Ghafir Akbar is excellent as Ghani – commanding yet vulnerable, both in life and in his “death”. Indeed, it can be challenging for the actors to manage their dialogue among the living while a “dead” character’s spirit remains in their company.
This whodunnit third episode provides a climax to the play – well orchestrated, nicely presented and brilliantly carried by each actor.
Engku Armand’s Mahfuz deserves mention for coming alive in the second and third episodes (after a very convincing sleep in the first), as do the couple Fash and Lala, who are more alive in the second and last episodes.
But the standout is Nabil, whose portrayal of Wan is natural, energetic and immensely likeable: he truly lifts the entire performance.
Although younger audiences today may find “Entourage” a little dated, particularly in terms of its central conflicts and the cultural anxieties of the ’90s, the play still succeeds in showcasing the depth and potential of Malaysian English-language theatre.
What stands out most is how confidently the cast handles Jit’s dense, witty and character-driven script. It’s clear Malaysia has a pool of exceptionally talented theatre performers who can rise to the challenge when given strong material to work with.
The revival of this “lost” script also reminds us of how far ahead of his time Jit was. His writing remains sharp, layered and emotionally intelligent, and even decades later, it provides actors and audiences with rich material to unpack.
It is a great pity that writers like Jit are no longer with us. But this production – beautifully acted, thoughtfully staged and lovingly restored – serves as a meaningful tribute to his legacy and a reminder of what Malaysian theatre can aspire to.
‘Entourage – Murder Amongst Friends’
Remaining performances:
Dec 10 & 11 @ 8.30pm
Where:
Robert’s Theatre @ The Campus Ampang, Selangor
Lot 7706, Jalan Kolam Air Lama,
68000 Ampang, Selangor
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