DRAMA REVIEW:

Amidst love, laughs and politicking

A review of the drama It's All Amidst :

by Dilshan Boange

Drama is quite arguably the most public engaging form of art where a live collective experience of artistic communication occurs between the performers and its audience. In this relationship, where does the drama reviewer or critic stand? I believe it is facing a 'readership' that values insights from a point of incisive observations on grasping merits and demerits of the performance. Any reviewer's first duty to his or her readership, is to provide a balanced constructive commentary, a fair critique for them to develop perspective on the work reviewed as well as grasp how a work of art can be analysed of its aesthetic and political elements.

On October 9, at the Punchi Theatre, I sat betwixt two stage drama directors of two generations; the veteran Jith Peiris to my left and to my right the rising star Kevin Cruze of Cold Theatre 7, a keen 'observer' watching Aslam Marikar's latest stage play 'It's All Amidst' come alive for theatregoers in Colombo.

What came alive on the boards by the Kandy based Sri Theatre Company, is a play that carries a visibly contemporary Sri Lankan theme and plotline performed in a conventional narrative method. 'It's all Amidst' is an original script by Marikar, who as a playwright, director and actor holds a multifaceted credential as a 'theatre practitioner'. The play is straightforward with no pretentious complicatedness contrived in its 'artistry of expression' to create a 'mystique of complexity' in order to be dubbed 'high art'. Considering the veins that run along the narrative it can be very rightly called a political comedy that offers a socio-political critique of our present times and shared values.

Appreciable witticism

The 'script' in respect of the dialogue it offers, must be noted for being laced with appreciable witticism and kernels of wisdom planted in lines that created moments of subtle epiphany together with complementing contemporary parlance. But it must also be said that there were stretches of 'discoursing' with diction touched by a pulse of 'bookishness' in the attempt to deliver the deeper vein of seriousness of the 'issues' discussed in the play. Some parts of dialogue at times were notably literary and 'chunkily prosaic'. For a work of theatre to become a living entity before its audience it must rely on the merits of two principal factors -the acting and the script it is based on. There lies the blood and bones of a work of theatre. Like blood, the acting must be in motion keeping the work alive, while the 'structure' on which the 'performing body' rests is the script.

The acting talents on stage did not unfortunately show symmetry to weave a fabric of performance where the players are seen as an ensemble with a similar and complementing degree of skill and experience. There was by my observations disparity in this regard. The player who performed the role of the protagonist 'Ediriweera' delivered a scheme of mechanised movement and recitation of lines with tonal variations that seemed at times almost cued. He starkly lacked the visible spark of an actor 'living his character' on stage. And it was all the more pronounced as he performed next to the actor who played one of Ediriweera's adjutants -'Keheliya' who presented a much smoother naturally flowing performance.

The actress who played the role of 'Lakshmi' although sparked with appreciable zest to bring out the inner emotional thrust in her character spoke her dialogue with notable elocutionary delivery, and with an expressive form reminiscent of an emotionally embattled female character of stylised Shakespearean theatricality.

Visual facet

The actor who played the character of 'Stanley' must be noted for his innate fibre of a thespian able to deliver a convincing stage performance. His 'presence' was not merely on account of his physical frame. His delivery of lines showed commendable command over tonal modulation to suit the moment and context and interplay with other characters. His facial expressions were well manoeuvred, visible, and complemented his dialogue as well as actions and reactions, which form the 'onstage interplay' an actor must do with fellow actors to give believability to his or her character. A word of commendation must be made for the actress who played the marriage registrar. The actress who played 'Anoma' and the actor who played her husband 'Ajith' too showed praiseworthy skill in articulating convincing characters through both facial expressions and delivery of dialogue. Marikar playing the supporting role of the politician 'Senanayake' did a good performance. The player who performed the character 'Keheliya' too deserves commendation.

The set decor and costumes were tastefully done and must be applauded. In this respect, it must be noted that the 'visual facet' of the production with respect of stage sets, costumes and the cast of characters is commendable. At the heart of this play are some serious questions that we as a society struggling to develop more collective political maturity are faced with. How far can the brand of politics that we have been made to grow to 'accept' continue? And to create real change for the next generation how much of our 'inheritance' from the generation that precedes us should be disavowed? Sometimes revolution is as much about brazen disrespect to the ways and values of old to give credence to beliefs for betterment. The story of Ediriweera and Lakshmi thus works as a symbol of how change in affairs of state can gain its mettle from the will to change politics of the household when claims of traditions and status are at stake.

'It's All Amidst' was performed by Bandhuka Premawardena, Anaz Hanifa, Heshan Pethiyagoda, Melvin Chin, Aslam Marikar, Hasith Wickramasighe, Sashen Ruhunage, Kushalee Jayawichreme, Chrishain Jayalath, Praveeni Senanayake, Ruwanthi Karunaratne, Imesha Athukorala, Sidath Samarasinhe, Praveena Bandara, Jithmini Athukorale, Indrajith Gilbert, Ashfaq Alamri, Amaresh Pereira, and Janani Gajanayake.

Despite whatever shortcomings noticeable in the performance, as an emerging theatre troupe based in the hill capital, Sri Theatre Company shows promise in developing its own brand of theatre for entertainment and social critique. And one does wish to humbly suggest that the relatively young troupe is likely benefit much through studious exposure to productions by more seasoned performers to grasp better acting technique to enhance their craft as artistes. Indeed one does hope in time to come more original works for Sri Lanka's English theatre will fount from Sri Theatre Company.