It follows the traditional wayang character Semar as he attempts— and fails— to take revenge against Arjuna and Srikandi for humiliating him by cutting off a lock of his hair while they are under the influence of the demon queen Durga.

At this moment, Durga, the queen of demons, chooses to possess her body and, controlling Srikandi's voice, demands to see Arjuna even though tradition forbids it.

Under the influence of Srikandi (who remains possessed by Durga), Arjuna focuses on economic development and increases the number of imports.

He establishes monopolies on common commodities hoping to control the population and uses popular culture to promote a sense of selfless nationalism.

Unable to accept the people's suffering, Semar goes to his former homeland and challenges Arjuna and Srikandi, whom he realises has been possessed.

When Semar tries to use his sacred flatulence known as "Ajian The White Kentuts", said to be capable of causing "whirlwinds, tornadoes, floods, earthquakes, [and] volcanic eruptions",[a][1] nothing happens.

[7] Semar is a character in traditional Javanese puppetry (wayang), depicted as a god who has come to Earth to serve human kings.

Although he had been used by President Suharto of the New Order as symbolic of the regime,[8] Semar is traditionally considered representative of the common people (wong cilik),[9] as are the other Punakawans.

[8] Muhammad Ismail Nasution of the State University of Padang concurs, suggesting that the play is a criticism of the New Order government.

[10] H. Sujiwo Tejo of Kompas writes that the performance used more modern story telling techniques, noting that changes between scenes were more stylised and quicker than in traditional wayang.

[9] After Riantiarno completed writing Semar Gugat, the New Order government—which required stage plays to receive formal permission before performances could be held—held up production.

[13] Semar Gugat was first performed at 800-seat Graha Bakti Budaya in Taman Ismail Marzuki, Jakarta, the day after permission was granted, by Riantiarno's Teater Koma.

The initial two-week run was produced by Nano's wife Ratna, with its choreography handled by Sentot S and music directed by Idrus Madani.

[14] A book version of the script was published in November 1995 by Bentang Budaya in Yogyakarta, with cover design by Si Ong.