Review: Teater Katak's The Maestro: Chocolate Dreams is Whimsical but Wobbly

On May 31 and June 1, 2025, Teater Katak returned to the stage with The Maestro: Chocolate Dreams, performed at Gedung Kesenian Jakarta. The production featured a double cast for the supporting roles, with two different pairs rotating, while the lead roles remained consistent. This show was produced by Afiq Walid and directed by Danan W. P. The team from Broadway World Indonesia had the opportunity to watch their first show on June 1st, and here’s our review.

Teater Katak’s The Maestro: Chocolate Dreams opens with a witty, self-aware beginning that promises a night of laughter and oddball fun. The Maestro, or Wonka—our main lead—begins not from backstage, but from the audience seat, a choice that breaks the fourth wall and sets a playful tone. While the production is ambitious, colorfully designed, and full of promise, what unfolds on stage is like a stale chocolate bar: still sweet in parts, but lacking consistency in flavor and structure.

The show starts off with a bang. A character named Bumpy (played by Ramzy Rafi) is humorously sentenced to collect 1,000 chocolates—a delightfully absurd punishment that sets the mood for what’s supposed to be a light-hearted musical comedy. The use of a digital screen as a front-facing backdrop is clever, helping to create atmosphere and guide mood. The lighting is vibrant, and the hand props—particularly the comically oversized ones—are a joy to look at.

After the impressive opening, I had great hopes. I was seated. The property's visual direction had these vintage elements mixed with fantasy. The costumes were colorful and whimsical. My expectations were high, and I was excited. But 30 minutes in, as the story thickened and the tone grew more serious, I found myself unable to get fully hooked. It got me wondering: was it the script or the performances? One contributing factor could be the sound. Dialogue was often drowned out by the music. While the officer’s voice came through clearly, Wonka—the titular lead—frequently struggled to be heard, especially during musical sequences. This, I think, made it harder to stay engaged with what was happening on stage.

Willy Wonka (played by Muhammad Fabiansyah), portrayed as soft-spoken, reserved, and melancholic, is a different approach from the eccentric and quirky inventor I’ve come to expect. This reinterpretation isn’t particularly bad, but might have worked better if the actor had stronger stage presence. His early scenes lacked energy and clarity, especially during songs. He gradually gained some momentum, but never quite matched the eccentricity or charisma required to carry this fantastical title. In contrast, Nyonya Scrubbit (played by Angela Gabriele) was a standout. Her performance was clear, expressive, and sharply timed, consistently lifting the energy in every scene she was in. The same goes for Noodle (played by Marsya Ananda), her quirky helper, whose charm, childishness, and strong commitment to character made her an unexpected favorite.

Most modern musicals use songs as a tool to move one story forward, reveal emotions, or build worlds. Instead, Wonka uses musical numbers as a way to repeat what had already happened—or worse, a preview of what's about to happen. This left many songs feeling unnecessary, bloating the runtime (Act 1 alone runs 2.5 hours) and diluting the pace. I could sense the audience growing tired. Some even left after the first act. There were songs that elevated certain moments (notably the duet between Nyonya Scrubbit and Richard), but others added little. I could argue that some musical numbers helped me understand the bond and closeness between certain characters, but the excessive subplots left my mind scattered, unsure of which ones to focus on.

The plot tries to combine social satire, corporate critique, dream-chasing, ancestral secrets, even bizarre family lore—until it collapses under its own weight. By Act 2, the story drowns in side plots and lore-dumps, turning what could have been a lighthearted escape into a muddled narrative swamp

The highlight of the show should have been Wonka, but it was already difficult for me to focus on his cluttered storyline. Ironically, the scenes I found the strongest (the ones that truly wow-ed me) were the ones where Wonka wasn’t even present. Even during the show’s sweet and tender moments—such as Wonka communicating with his mute mother through sign language—the emotional impact is blunted by the surrounding chaos. This moment of representation deserved more weight, but it got lost in the clutter. The final scenes attempt to tie everything together with action-packed sequences, surprise rescues, and dramatic revelations about betrayal and legacy. But honestly, the climax arrives too late. So much suspense and tense that were built up too long until the audience grew tired and couldn’t care less about what was going to happen. The emotional stakes never fully land. When the villains are finally defeated and the workers freed, it feels more like a relief than a triumph.

Had the script been simpler, the pacing sharper, and the main character stronger, The Maestro: Chocolate Dreams might have truly soared. Instead, the audience is left admiring the effort and creativity of the properties, costumes, and ensemble, but craving a clearer narrative and tighter direction.

Teater Katak deserves credit for taking a bold swing with The Maestro: Chocolate Dreams. The production shows flashes of brilliance: creative staging, committed performances from much of the cast, and a world rich in imaginative detail. But without a stronger script, brisker pacing, and a more compelling lead, the show’s core feels somewhat underbaked. Like experimenting with a new kind of chocolate, all the ingredients for something delightful are there, but the recipe still needs refining.

Broadwayworld Indonesia is a media partner for The Maestro: Chocolate Dreams.