Prasun Sonwalkar of Hindustan Times writes about Eastern thespians...
https://www.hindustantimes.com/entertainment/theatre-group-of-indian-professionals-makes-waves-in-britain/story-ZhwFM73qcvX8wMLRshXkHO.htm
https://www.hindustantimes.com/entertainment/theatre-group-of-indian-professionals-makes-waves-in-britain/story-ZhwFM73qcvX8wMLRshXkHO.htm
After the Summer
Brought to us by Eastern Thespians
· Writer/director: Debasish Banerjee
Banerjee’s After the Summer, brought to us by the Eastern Thespians, was a heady cocktail of timeless themes; politics, ego, the rise and fall of leaders and identity making and shifting. On a cold Sunday in London, entering the Richmix to escape into a dark, surreal comedy which focused on the socio-political imaginary landscape (called ‘Dilemia’) in the aftermath of a corrupt and unsuitable head of state – was quite the treat. And how apt with a title like that!
A conversation leads to a series of flashbacks as a means to interrogate a journalist over the late president’s rise to power, and what is behind the drive for absolute control. Set in an imaginary country this dark, surreal comedy focuses on the socio-political landscape in the aftermath of a corrupt and unsuitable head of state. Inviting comparisons with world leaders in 2017 this play explores the climate of alienation and disillusionment which allows such leaders to exist.
When I first read about the play, I was impressed with the ambitious number of themes the Eastern Thespians wanted to express, but also a little apprehensive. I’ve often over the years felt the moment a play is overwhelmed with attempts to creatively project issues or nuances of society and morals, it can get a little stuffy and lose its way. So I was keen to see how topical and weighty themes such as leadership and nation politics could be brought to stage in this black comedy. And as always with every Eastern Thespian production, I was certainly not left disappointed.
The cast were energetic and clearly had been rehearsing for a very long time because each character in the play was realised and felt authentic as the play developed. Characters being Miracle Miranda and his inner circle- Miracle's wife Madeline Miranda, a former film diva, Judas Inquisitor, ex-army commander now his internal security and army chief, Cerebro Astucia, his prime minister, and Bonita Menina, his foreign affairs and cultural minister, were all complex and engaging. On several occasions I felt like I was watching the multiple faces of Shakespeare’s Iago on stage.
My own personal experience as a human rights activist at Restlessbeings.org has meant frequent moments of feeling frustrated with poor leadership, global imbalance, and incompetency. These familiarities were present throughout the play and superbly executed through Miracle’s character and those that flocked to him when times were good but criticised and scoffed at him from afar.
As the play continued I found myself (surprisingly) feeling a little sympathy for the Miracle. His obsession with masks was an obvious symbolic nod to the many faces that leaders across the world and throughout time have to juggle – sometimes for the people and sometimes for their own insatiable lust for power. But this obsession, I noticed, also seemed like a defense mechanism, through which he was able to protect his own confusions and vulnerabilities and at times, his inability to read his ‘trusted’ characters around him as his wife did.
A huge congratulations to the full cast for bringing each character forward with such vivacity. It was an absolute joy to see the grim and fascinating transformation of each of the characters, leaving us to ponder on the fate of Dilemia – and to consider the possible fate of many countries in our world today.
It is rare I see a play and cannot find any words of advice or suggestions for future work. From the theme, to the writing, to the stage aesthetics (which I thought were fantastic and really enabled, without too much fuss, for audiences to visualise a change in the landscape and time), to the acting to the fast paced dark humour that laced the entire narrative, this production was one that I will remember once this festival is over.
After the Summer, is a welcome sort of theatre: political without being preachy, contemporary without necessarily being set in the present and, crucially, rich in entertainment value with its continual supply of dark witty lines... just when things get too serious haha.
© Rahima Begum, Theatre critic
· Writer/director: Debasish Banerjee
Banerjee’s After the Summer, brought to us by the Eastern Thespians, was a heady cocktail of timeless themes; politics, ego, the rise and fall of leaders and identity making and shifting. On a cold Sunday in London, entering the Richmix to escape into a dark, surreal comedy which focused on the socio-political imaginary landscape (called ‘Dilemia’) in the aftermath of a corrupt and unsuitable head of state – was quite the treat. And how apt with a title like that!
A conversation leads to a series of flashbacks as a means to interrogate a journalist over the late president’s rise to power, and what is behind the drive for absolute control. Set in an imaginary country this dark, surreal comedy focuses on the socio-political landscape in the aftermath of a corrupt and unsuitable head of state. Inviting comparisons with world leaders in 2017 this play explores the climate of alienation and disillusionment which allows such leaders to exist.
When I first read about the play, I was impressed with the ambitious number of themes the Eastern Thespians wanted to express, but also a little apprehensive. I’ve often over the years felt the moment a play is overwhelmed with attempts to creatively project issues or nuances of society and morals, it can get a little stuffy and lose its way. So I was keen to see how topical and weighty themes such as leadership and nation politics could be brought to stage in this black comedy. And as always with every Eastern Thespian production, I was certainly not left disappointed.
The cast were energetic and clearly had been rehearsing for a very long time because each character in the play was realised and felt authentic as the play developed. Characters being Miracle Miranda and his inner circle- Miracle's wife Madeline Miranda, a former film diva, Judas Inquisitor, ex-army commander now his internal security and army chief, Cerebro Astucia, his prime minister, and Bonita Menina, his foreign affairs and cultural minister, were all complex and engaging. On several occasions I felt like I was watching the multiple faces of Shakespeare’s Iago on stage.
My own personal experience as a human rights activist at Restlessbeings.org has meant frequent moments of feeling frustrated with poor leadership, global imbalance, and incompetency. These familiarities were present throughout the play and superbly executed through Miracle’s character and those that flocked to him when times were good but criticised and scoffed at him from afar.
As the play continued I found myself (surprisingly) feeling a little sympathy for the Miracle. His obsession with masks was an obvious symbolic nod to the many faces that leaders across the world and throughout time have to juggle – sometimes for the people and sometimes for their own insatiable lust for power. But this obsession, I noticed, also seemed like a defense mechanism, through which he was able to protect his own confusions and vulnerabilities and at times, his inability to read his ‘trusted’ characters around him as his wife did.
A huge congratulations to the full cast for bringing each character forward with such vivacity. It was an absolute joy to see the grim and fascinating transformation of each of the characters, leaving us to ponder on the fate of Dilemia – and to consider the possible fate of many countries in our world today.
It is rare I see a play and cannot find any words of advice or suggestions for future work. From the theme, to the writing, to the stage aesthetics (which I thought were fantastic and really enabled, without too much fuss, for audiences to visualise a change in the landscape and time), to the acting to the fast paced dark humour that laced the entire narrative, this production was one that I will remember once this festival is over.
After the Summer, is a welcome sort of theatre: political without being preachy, contemporary without necessarily being set in the present and, crucially, rich in entertainment value with its continual supply of dark witty lines... just when things get too serious haha.
© Rahima Begum, Theatre critic
Footfall
I must admit, I have a soft spot for the outstanding productions that have been delivered by the Eastern Thespians over the years. This contemporary theatre group draws on the rich resources of both eastern and western life, thought, philosophy and art forms and are committed to presenting theatre that is vital, thought provoking and engaging. True to their ethos, each production has certainly raised the bar and positively enhanced the Season Bangla Drama fringe theatre festival in a number of ways.
A couple of years ago, I wrote about a play they had contributed to the festival programme. One that revolved around family bonds, time and the tests that come over the course of life. I remember holding back my tears and feeling every word uttered, every moment of pain and joy captured and every unexpected turn of events beautifully delivered on stage. Inevitably, my expectations were high (rightfully so) when I went to see their new production ‘Footfall’ which opened at the Rich Mix London on Friday night.
Set in 2015 in a non-specified country in Southeast Asia, Footfall explores the ethics of a consumerism led, market-driven world where profit is valued over human life. Issues related to production in the world of multinational companies engaged in global trading, particularly its much debated aspect of the reasons for the continuing plight of the poor workers that has recently come to international notice following a series of industrial accidents are key themes running through the play. Laced with black comedy, Footfall follows the aftermath of an accidental fire that destroys a shoe factory resulting in the death of over five hundred workers, including women and children. In the socio-political uproar that follows, four important players in the game emerge: a small time political strongman whose factory has burnt down and who is now on the run to escape the law, his erstwhile godfather who is a senior agent of a multinational company, the rich businessman who gave the sub-contract, and an ambitious senior politician.
The stage was simply dressed. A handful of chairs, a drinks caddy, coffee table and black and white illustrated backgrounds depicted on the projector. This did not change much as the play was largely based on conversations taking place in a couple of rooms in different homes.
The production focused on the conversations between the four characters. I liked the pace in which the dialogue was delivered. The comedic timing was superb and the language colourful. There were many double entendres lacing the dialogue which I thoroughly enjoyed. The relationship between Inayat and Shah was something I was very amused by and appreciated. Inayat reminded me of Iago from Shakespeare’s Othello. Shrewd in character and often behind the ensuing capitulation in the play. He was a real delight of a character to watch as the play developed. These conversations of insatiable greed, joy and celebration in new business opportunities very quickly transformed into denial, fear, concern and calculation. I found it very insightful to be able to see the emotions of those behind the deaths of so many innocent factory workers. To see their anguish, and fear and also the way in which they are quick to blame others and avoid taking responsibility for their unforgivable actions. These emotions were brilliantly captured throughout the play and gave us both as an audience and concerned global citizens, an opportunity to enter the manipulative and also often insecure minds of those at fault.
The play ended with a few surprises and further confirmed our initial opinions of those who place money and power over human rights and honesty. Without being a spoiler, I can only say that we were certainly not expecting the turn of events that were portrayed in the end of the play. And that is exactly what I love about this creative company - their ability to write and deliver in a way that makes us believe we are witnessing the truth in front of us, and keeping us on our toes as the story unfolds. That raw sincerity is not easy to capture and convey and for that I applaud the entire team at the Eastern Thespians.
Footfall in every way is a promising, powerful and relevant production. Reminding us once again of the callous individuals in our world today, who, for the sake of money and personal growth, will even pull the wool over their closest companions.
I wish the team all the best in their tour of Footfall and look forward to their future productions.
Rahima Begum, Theatre critic
A couple of years ago, I wrote about a play they had contributed to the festival programme. One that revolved around family bonds, time and the tests that come over the course of life. I remember holding back my tears and feeling every word uttered, every moment of pain and joy captured and every unexpected turn of events beautifully delivered on stage. Inevitably, my expectations were high (rightfully so) when I went to see their new production ‘Footfall’ which opened at the Rich Mix London on Friday night.
Set in 2015 in a non-specified country in Southeast Asia, Footfall explores the ethics of a consumerism led, market-driven world where profit is valued over human life. Issues related to production in the world of multinational companies engaged in global trading, particularly its much debated aspect of the reasons for the continuing plight of the poor workers that has recently come to international notice following a series of industrial accidents are key themes running through the play. Laced with black comedy, Footfall follows the aftermath of an accidental fire that destroys a shoe factory resulting in the death of over five hundred workers, including women and children. In the socio-political uproar that follows, four important players in the game emerge: a small time political strongman whose factory has burnt down and who is now on the run to escape the law, his erstwhile godfather who is a senior agent of a multinational company, the rich businessman who gave the sub-contract, and an ambitious senior politician.
The stage was simply dressed. A handful of chairs, a drinks caddy, coffee table and black and white illustrated backgrounds depicted on the projector. This did not change much as the play was largely based on conversations taking place in a couple of rooms in different homes.
The production focused on the conversations between the four characters. I liked the pace in which the dialogue was delivered. The comedic timing was superb and the language colourful. There were many double entendres lacing the dialogue which I thoroughly enjoyed. The relationship between Inayat and Shah was something I was very amused by and appreciated. Inayat reminded me of Iago from Shakespeare’s Othello. Shrewd in character and often behind the ensuing capitulation in the play. He was a real delight of a character to watch as the play developed. These conversations of insatiable greed, joy and celebration in new business opportunities very quickly transformed into denial, fear, concern and calculation. I found it very insightful to be able to see the emotions of those behind the deaths of so many innocent factory workers. To see their anguish, and fear and also the way in which they are quick to blame others and avoid taking responsibility for their unforgivable actions. These emotions were brilliantly captured throughout the play and gave us both as an audience and concerned global citizens, an opportunity to enter the manipulative and also often insecure minds of those at fault.
The play ended with a few surprises and further confirmed our initial opinions of those who place money and power over human rights and honesty. Without being a spoiler, I can only say that we were certainly not expecting the turn of events that were portrayed in the end of the play. And that is exactly what I love about this creative company - their ability to write and deliver in a way that makes us believe we are witnessing the truth in front of us, and keeping us on our toes as the story unfolds. That raw sincerity is not easy to capture and convey and for that I applaud the entire team at the Eastern Thespians.
Footfall in every way is a promising, powerful and relevant production. Reminding us once again of the callous individuals in our world today, who, for the sake of money and personal growth, will even pull the wool over their closest companions.
I wish the team all the best in their tour of Footfall and look forward to their future productions.
Rahima Begum, Theatre critic
Uttoradhikaar - The Inheritance
Excerpts from the review of Fringe Guru.....
Eastern Thespians are a theatre group based in London, and they have travelled to Edinburgh with this entertaining production about the Indian state of Goa. The language is Bengali, with surtitles in English. The narrative is split between the upheavals in the DeCunha house in Goa in 1958, when the state is poised for independence from the Portuguese, and a scene at the royal palace in 1471, when the Bahamanis annexed the then Govapuri. Between the obvious parallels and a few incongruities lies an action packed play.
Chandrayee Sengupta delivers a powerful performance as Margarita, replete with nostalgia for the past and insecurity about the future. There is a lovely passage about her love for the rains that serves as a common theme, spanning centuries. The quality of acting is superb, and as a Bengali speaker, I can tell you that the quality of translation is superb too. The practicalities are well thought through: the synchronisation between the surtitles and the action is perfect, the screen sits just above the action in easy view, and it's easy to see from the back....................
.................a great choice for those interested in trying a slightly offbeat form of theatre in a foreign language. The acting and the setting combine to deliver a good experience – and if, by this time at the Fringe, you feel you have seen it all before, then you still won't have seen or experienced something quite like this.
Udita Banerjee, Critic, Fringe Guru
The rendition of this play about the De Cunha family and with the theme of identity explored through individuals living a time of political change and struggle, was powerful. It was striking that various conversations – between Anatole and his niece and nephew, between the siblings, between Margarita and Jose – had been repressed until now. Chandrayee Sengupta gave an outstanding performance to reveal the pain of Margarita, her longing for the past and the trapped feelings which were being forced to the surface through the events of the play. Many of the characters had been keeping their plans secret until this point. Essentially the play takes place at a crux point for the characters – it is time for them to look forward and the play ends with the inevitable.
Araminta Barlow, Critic
Artho - The Meaning of Wealth
|
I watched a play which is probably one of the best theatrical performances I have seen in many years. And that is an understatement. Debasish Banerjee, threw everything out of the box, stripped it to its bare skeleton and filled it with some of the most captivating and poignant dialogue and message ... This play was simply beautiful. A substance packed two hours of complete and utter indulgence into what i felt was art as it should be, simple, beautiful, meaningful, relatable, and most of all, powerfully necessary in our world today. I wish this play could be delivered in every theatre up and down this country just so they could see and appreciate it. |
