Review: Eclipse Studios’ BERHANTU: A Quick Horror Experience

Review by Zahira, editing by Rakaputra Paputungan.

After five sold out shows in Singapore, Hafidz Rahman brings his signature Nusantara horror to Indonesia. Eclipse Studios presented Berhantu, a multi-sensory horror theatre experience at Krapela. This marks Eclipse Studios' third show after Eclipse D’Amour. The team from BroadwayWorld Indonesia attended the show on February 28, and here’s our review.

From the moment we enter the venue, the atmosphere is already steeped in a traditional Indonesian horror feel. The room is filled with incense smoke and red lighting, creating a ritual-like ambiance. The audience sits in a circle surrounding what appears to be a shrouded dead body laid at the center of the room, resembling a prayer gathering for the deceased. This artistic choice immediately establishes the horror tone before the story even begins.

The show presents two separate horror stories that are not narratively connected. Three actors feature in both stories: Atillla Syah, Bukie B. Mansyur, and Dwynna Win. Despite their simplicity, both stories are effective in creating tension. The performance is immersive rather than interactive — the audience is not asked to participate directly, but the proximity to the actors makes the experience feel unsettlingly real.

Interestingly, the ghosts themselves do very little. In the first story, a young woman comes to her therapy session, weeks after the death of her mother. She admits this to the therapist, that she had been facing sleep difficulties because her dead mom keeps waking her up at night. The ghost of her mother enters the room and sits silently without speaking. To the viewer’s eye, it is unsettling to see the ghost clearly present on stage, while the characters cannot see it. It creates a dramatic suspense for what might happen. 

In the second story, two brothers are fighting over inheritance after the death of their mom. The ghost of their mom merely yells out briefly. Still, the horror does not rely on such obtrusive paranormal activities. Instead, the tension builds through the characters’ conversations. The dialogue and acting create tension that slowly permeates the room.

The production uses minimal props. What stands out most are the sound design, lighting, and the performers themselves. The actors didn’t play their characters as overdramatic horror tropes, instead delivering performances that mostly feel grounded and convincing – with a few loud moments to shock the audience. This realistic approach, alongside a storyline rooted in Indonesian culture, makes the horror more effective. The plays feel that they might just happen in real life.

Remarkably, it was revealed that the show was prepared in just three days. Despite the short preparation time, watching this did not feel rushed or unfinished. The production still feels well-structured and thoughtfully executed.

Overall, the show offers a compelling example of immersive horror theatre using familiar Indonesian supernatural figures. Seeing traditional Indonesian ghost horror presented as a theatrical piece in a nontraditional venue like Krapela is refreshing, even though the ticket price may feel relatively high for a 90-minute show. This was a multi-sensory theater experience that incorporated scent, lighting, and even dripping water to the audience, heightening the stimulation. Nevertheless, the quick experience proves that intimate horror theatre can be both effective and memorable.

Broadwayworld Indonesia was a media partner for Berhantu!