Review: TEATER PARRESIA CASCARA'S ESTHER: A Safe and Straightforward Performance

Review by Zahira, editing by Rakaputra Paputungan.

On 28 March 2026, the team from Broadway World Indonesia attended Teater Parresia Cascara’s Esther, presented at Gereja St. Yakobus. Written and directed by Venantius Vladimir Ivan Pratama, the retelling of the story of Esther in this recent production was a piece of work steeped in atmospheric ambition and structural simplicity.

The performance starts with a dreamy and otherworldly beat that feels almost angelic. This ethereal opening was aided by the natural reverb of the venue; since the play was held in church – a very different space from a traditional theater auditorium – the echoing audio lent a surreal quality to the introduction that might have been lost in a more acoustically dampened environment. However, as the play transitioned into more dialogue-heavy scenes, this same echo occasionally made it difficult to catch every word, though the core narrative remained clear throughout.

The storyline followed a predictable but steady path, revealing Esther’s (Evangeline Aldrich) hidden identity early on and moving through the familiar beats of her rise to the throne. The acting was characterized by a straightforward, mechanical style, where the performers focused primarily on the delivery of lines and the execution of their blocking. There was a notable lack of heightened emotionality, which may have been an intentional stylistic choice, resulting in a performance that felt more like a formal recitation than a dramatic transformation. While this approach meant the acting stayed on a fairly even level without many standout moments of intensity, the discipline of the young cast was evident in their adherence to the script’s structure.

The visual elements of the show provided a necessary layer of polish that elevates the overall experience. The set design was notably efficient, utilizing a stationary throne in the middle of the stage that served as a strong focal point for the courtly drama without requiring cumbersome scene changes. This stability was enhanced by the lighting, which was tasteful and subtle, never feeling like it was doing too much. The lighting worked in perfect harmony with the costumes, which were particularly striking; the fabrics featured beautiful details that sparkled under the stage lights, adding a touch of Persian opulence to the performance. Together with the memorable melodies of the musical score, these technical choices created a stunning atmosphere that felt more engaging than the acting itself.

The production found its most resonant voice in its musicality. The songs served their purpose on the emotional aspect, particularly the ones that addressed the social disparity within the kingdom. The music provided a more engaging experience between scenes. These melodies were suited to the atmosphere, providing a rhythmic heartbeat to the story that kept the audience connected.

The tension of the plot was driven by the introduction of Haman (Giovanni) and her conflict with Mordekhai (Zephan Salim). The production hits all the necessary narrative marks, including Mordekhai’s refusal to kneel and the subsequent indictment of the Jewish people. The irony of the scene where Haman unwittingly suggests various honors – thinking they were meant for him, before they were revealed to be for his rival, Mordechai – was handled with a sober sense of the story’s traditional beats. By the time the dinner scene arrived, the tension was well-established, leading to the final reveal of Haman’s villainy. Ultimately, the performance was a modest yet sincere effort. 

While it may not have been a transformative theatrical event, it was a functional piece of storytelling with the cast’s dedication and the production's technical efficiency clearly on display.

Broadwayworld Indonesia was a media partner of Esther.