It's been 20 years since Puteri Gunung Ledang The Musical (PGL) made its debut in Kuala Lumpur, but the overwhelming response to its return season shows that “PGL Fever” has lost none of its pull.
Tickets for the initial run at the Jeffrey Cheah Performing Arts Centre (JCPAC) in Bandar Sunway, from Oct 31 to Nov 15, were snapped up within two hours of going on sale in August.
A subsequently announced grand finale performance on Nov 17 sold out in just five minutes.
The sheer scale of the response has been striking, particularly for a homegrown musical theatre production – created by Enfiniti Productions – seeking to win over a new generation of audiences.
Set in the late 15th century, PGL recounts the tragic love story of Gusti Puteri, a Javanese princess yearning for life beyond the palace walls, and Hang Tuah, the revered Melakan admiral bound by duty. Despite their sincere love, they are ultimately divided by power, family and allegiance.
By the end of the season, more than 24,000 people will have seen the musical. Audiences also had the opportunity to experience both casting combinations for Gusti Puteri and Bayan, with Aisha Retno and Nadia Aqilah, alongside Mila Mohsin and Mimi Fly, alternating in the roles and bringing their own interpretations to the production.
'The extraordinary love'
“Honestly, the reception has been beyond anything I could have imagined,” said Tiara Jacquelina, director and co-creator of the production, who played the role of Gusti Puteri opposite M. Nasir as Hang Tuah in the 2004 Puteri Gunung Ledang film.
Tiara then reprised the role in the musical’s first three seasons (2006–2009), before taking the director’s seat for its much-anticipated return.
For all its theatrical spectacle and box-office success, PGL's return has also been shaped by something less tangible: the memories it has rekindled, the connections it has renewed and the personal stories it continues to inspire.
“What has touched me even more than the ticket sales is the extraordinary love we've received from our audiences. Every day, I'm reading social media posts from people sharing their favourite moments, telling their friends and families to watch PGL," says Tiara.
“What moves me most is the tremendous sense of pride Malaysians, young and old, seem to feel seeing our own stories, culture and homegrown talent celebrated on such an epic scale.
"To know that something we've created has touched someone's heart, even if only for one evening, and perhaps stayed with them long afterwards, is something money simply cannot buy. You can't manufacture that kind of love and connection. And that's what inspires me to keep creating,” she adds.
A story for the ages
During a recent performance, the excitement surrounding PGL was palpable. Staged at JCPAC’s 1,200-seat Proscenium Theatre (aka the Grand Theatre), the musical held audiences spellbound with its brisk pacing and compelling 145-minute narrative.
Compared with earlier iterations, this production makes greater use of theatrical technology, lighting, projections and stagecraft to elevate the storytelling, without allowing the spectacle to overshadow the cast’s performances.
Mila and Aqasha carried the leading roles of star-crossed lovers Gusti Puteri and Hang Tuah with a touching and steadfast tenderness, especially Mila’s portrayal of a young princess determined to follow her heart.
Another central relationship is that between Gusti Puteri and her loyal handmaiden Bayan, played by Mimi Fly, whose devotion to the princess’s happiness is unwavering. Their bond offers a glimpse of sisterhood and solidarity, providing Gusti Puteri with refuge from the isolation of the Javanese kraton.
Yusof Hashim’s Gusti Adipati, ruler of Majapahit and Gusti Puteri’s brother, and Luqman Hafidz’s Sultan Mahmud of Melaka make for two sides of the same coin. Both actors bring a cocky, brash energy to their portrayals of rulers consumed by pride and the pursuit of power.
The musical’s return after a lengthy hiatus has drawn a mix of audiences: those familiar with its earlier productions and a new generation experiencing PGL for the first time.
For Mei Chuen, in her 50s, watching the show as an audience member was an interesting yet welcome contrast to her time as an assistant stage manager of the first three seasons of PGL.
“Previously, I could only see the show in bits and pieces from backstage, so it’s a nice change to experience it as an audience member this time," says Chuen.
“It’s also fascinating to see the differences between the show now and back then. This production has a very Gen Z feel to it, in terms of the props, stage design and singing styles,” she adds.
Another audience member Atif Zul, 37, reveals that PGL’s music has been a steady source of comfort for him since he first watched the musical as a teenager.
“From the moment the music began playing at the start of the show, I teared up because this wave of nostalgia just came crashing in. While a lot of the production is the same, I did notice some changes, like new or extended songs and some tweaks to the dialogue, so it was also quite refreshing to see that the musical has evolved,” he says.
Long-time school friends Qistina Arina and Alisha Hana, both 23, had been deeply disappointed when they were unable to secure tickets when they were first released.
“But then I saw people posting on social media about how a small batch of tickets would be released on the day of the performance, so we managed to get the last two available tickets when I checked the website,” says Qistina.
“I've always heard my parents and relatives who’ve seen the musical talk about how amazing it was, so I wanted to see it for myself, especially with this new ensemble,” she adds.
For Alisha, it was her first experience of a musical in Malaysia, having previously studied overseas.
“I've watched several musicals at the West End, like Hamilton and Hadestown, and honestly, I think PGL is comparable to these international productions in terms of its scale and production quality," she says.
The road ahead
As for those who missed out on this season, don’t despair – Tiara teased that discussions are underway for another season in Kuala Lumpur in 2027, perhaps as early as April, as well as a national tour.
PGL also makes its return to Singapore next year at Esplanade Theatre – its limited run from April 9-11 already sold out earlier this month.
“I would absolutely love to bring PGL to audiences around Malaysia, especially those who may not have the opportunity to travel all the way to KL to experience the show, so we warmly welcome invitations from state governments, arts organisations, venues and potential partners who would like to help us bring PGL to their states,” says Tiara.
“My hope is that PGL won't simply be a production that comes and goes, but a theatrical legacy that can return again and again, creating opportunities for generations of Malaysian performers and reaching audiences across the country and beyond,” she concludes.
