Review: KELAS AKTING TITIMANGSA’s Pemberontak: An Intriguing Exploration

Review by Zahira, editing by Rakaputra Paputungan.

On November 23, 2025, the team from BroadwayWorld Indonesia attended Pemberontak. The show was presented as one of the recitals by the Kelas Akting Titimangsa 2025, under Iswadi Pratama’s direction. As the closing show of their program, this staging of Les Justes by Albert Camus carried a strong sense of culmination— the performers, fully immersed in their roles, delivered a work that felt both refined and emotionally charged. 

We follow a tight-knit circle of revolutionaries—Boris (Danya), Stepan (Pavel), Yanek (Tegar), Dora (Sharon), and Voinov (Kamal)—whose mission is to assassinate a corrupt  nobleman. More than simply being the show’s premise, this mission becomes the catalyst for a much deeper exploration of idealism. Danyafatima Hasnuagi Zen provides a vital anchor to the group as Boris, as she maintains a sense of steady authority that keeps the group from splintering away under the weight of their own philosophy. 

In the role of Yanek, Tegar Brahmanastrya delivers a performance defined by internal contradiction. He navigates the poet-assassin archetype with remarkable clarity, channeling his character's turmoil into a quiet, vibrating intensity. Yanek eventually decides that he should be the one to execute the assassination by throwing a bomb, risking imprisonment. It is intriguingly unique how this decision is not presented as a mere act of courage, but as a deliberate ethical stand, and still rendered through a vulnerability that feels painfully real.

In sharp contrast, Pavel Gunawan's interpretation of Stepan provides the production's most jarring friction. His portrayal is sharp, serving as a foil character to Yanek. In their confrontations, Yanek’s energy is more cold and focused, heightening the stakes through a presence that feels genuinely dangerous. Sharon Talita Sitanja’s Dora anchors this rigor with profound emotional depth. She skillfully balances conviction with intimacy and a sense of warmth, standing as a revolutionary and as the group’s moral heartbeat. Through Dora’s compassion towards Yanek, we see their struggle for a better world as something more human and heartbreakingly personal.

Kamal Zidane as Voinov captures the subtle, creeping erosion of the revolutionary spirit. His performance highlights the psychological toll of the mission, adding a layer of fragility to the group dynamic that underscores the play’s exploration of human limits. This fragility is further contextualized by the broader societal shifts represented by Foka (Asep Saputra) and Skuratov (Manik). 

The prison scene stands as one of the painful segments, particularly with the Duchess (Wafida Darmawi) interacting with Yanek in a match of manipulation. Wafida’s delivery is poised, timid, and psychologically charged, showing how power can be just as lethal when it’s whispered as when it’s shouted. I couldn't help but empathize and think of ways how Yanek could escape from this misalliance. 

The artistic team deserves recognition for keeping the setting entirely within a single cubicle. By never changing the props nor the scene, the production relies on the audience to imagine everything happening in the world outside that room. This is one of the most effective elements of the play, as the actors also excel at making the environment feel much larger and more expansive than what is physically shown on stage. Their performances successfully bridge that gap, creating a sense of a world that exists far beyond the limited space of the set.

These actors succeeded at evoking the weight of a Russia in turmoil, simply through the heaviness of their dialogue. The hard work they put in for how their voices sounded across the board is exceptional, as it doesn't sound like someone speaking from this day of age. So authentically classic, an amazing vehicle for the play’s tension. By prioritizing character-driven realism over spectacle, Titimangsa students inhabit the crushing cost of conviction, creating a state of unease that lingers long after the final bow. It was very memorable, I kept thinking about this show even after weeks have passed. 

I hope to see more of Titimangsa’s style of acting. It is impressive to see a well-written script turned into a well-acted performance. The result was a show of polished execution and deep emotional resonance, truly a testament to the growth and dedication of the performers throughout their journey.

Broadwayworld Indonesia was a media partner of Pemberontak. Photos courtesy of @infokitahati @infotitimangsa.