By Rosli Mansor Ahmad Razali
The Teater Bangsawan DiRaja Beting Beras Basah (BBB), directed and scripted by Anne Zahurin, made history as Malaysia’s first Royal theatre production to fully integrate digital technology.
Adding to the pride, the production earned recognition from the Malaysia Book of Records as “The First to Direct Royal Theatre Play,” cementing the veteran director’s 35-year career in the nation’s performing arts achievements.
Staged during the 2025 International Nusantara Bangsawan Tour at the JKKN Perak Auditorium, this seven-act production boldly embraced “hollow graphic” digital technology throughout.
This innovation marks a dramatic transformation in the traditional Malaysian theatre landscape, reimagining the classic bangsawan performance as a modern spectacle.
Anne Zahurin’s courage in making technology the core of the production deserves praise. The use of animated backdrops, middle-wing hollow graphics, and a surround subwoofer system successfully immersed the audience in a fresh, dramatic atmosphere.
Silhouette and camouflage techniques on the rear projections added depth to the visuals, especially in creating a mysterious and theatrical ambience.
The balance of virtual imagery, carefully controlled, is commendable. At no point did the visuals overshadow the actors on stage. Anne Zahurin maintained the essence of bangsawan, ensuring that acting and dialogue delivery remained the heartbeat of the performance.
Lighting design was also impressive, providing an appealing balance throughout the show. The interplay of tones not only enhanced the dramatic mood of each scene but also highlighted the actors’ facial expressions with clarity.
Another strength of this production is Anne’s ability to preserve the soul of bangsawan, from the language and musical accompaniment to traditional dramatic styles.
However, minor areas could be refined. The gurindam (didactic song) performed in the opening act was overly long, which may have caused slight audience fatigue. For modern viewers, this could disrupt their focus and affect the play’s early momentum.
Similarly, the duet performance by Reza Hasbi (Raja Muzaffar) and Marissa Yusoff (Tun Terang) was somewhat disappointing. Overly emotional delivery affected diction, and occasional off-notes were audible.
The production’s visual impact shone through meticulous costume and makeup design, particularly for the main characters, Raja Sabtah Mahkota Alam and Ibu Ratu Roro Kidul from the celestial realm.
Raja Sabtah’s costume exuded grandeur, featuring a red-and-gold robe symbolising the authority of a celestial king leading the Indera Dewata Purbaraya Kingdom.
Wide sleeves enhanced a dramatic effect, while the golden crown and jewel-topped sceptre reinforced his power and mystical aura. Flowing long hair completed the epic image of a legendary celestial king.
Meanwhile, Ibu Ratu Roro Kidul radiated celestial charisma in a golden costume, exuding elegance and mystique befitting the guardian of the Nusantara seas.
Overall, BBB sets a new benchmark in Malaysian bangsawan. Anne Zahurin’s technological experimentation opens the art form to a new generation, showing that traditional theatre can remain relevant in the modern era.
The two-hour BBB performance begins in the celestial realm, with Raja Sabtah Mahkota Alam ruling the Indera Dewata Purbaraya Kingdom. A magical arrow shot from the heavens lands on the fertile earth, named Perak, heralding the birth of a royal heir destined to be crowned Sultan to safeguard the state’s prosperity.
The journey to Perak was not without trials, as storms tested the royal vessel at the white sandy estuary resembling wet grains of rice.
From this tragedy, a sacred oath was sealed at Beting Beras Basah, marking the beginning of the Perak Sultanate, rooted in the courage and greatness of the king and his followers.
