Drama  

'Wanted' mounts a dynamic presence

Kaushalya Fernando's 'Dutu Thena Allanu' (Wanted) staged on January 24 was a laudable success. Set in the era of Jean-Bédel Bokassa's tyrannical rule in Central Africa it is an entertaining political critique. Overall casting was well done. Shanaka Fernando as Jonathan Anikura performed well as did Dilum Buddhike as Colonel Moses whose visage slightly reflected Claude Rains in Casablanca. Mayura Perera as Police Commissioner Brown and Dhanushka Dias as 'Captain' Macheath projected effective presence. Saviour Kanishka performed optimally as one of the hoodlums but sadly lacked acuteness of delivery as the lawyer.

The wedding scene was particularly entertaining with Victor Sylvester's popular ballroom piece coupled with 'rock around the clock' adding much liveliness. Stagecraft was tastefully devised to suit the logistical needs of scene switching, while being visually effective. The prison, Bokassa's palace, and the execution scene for example were minimalist while Anikura's home and the criminal's hideout depicted facets closer to a realist theatre set. Costumes were very well done and must be especially commended.

Sometimes switching of scenes seemed a bit hurried and the actors themselves disentangling from their stance of character and becoming stagehands in clear sight was somewhat unappealing. Hopefully, it can be better executed in the future meeting logistical needs without noticeably intruding on viewer perception. Due to depictions of boozing, occasional expletives, and subject matter like prostitution, it is my opinion that this play may not be suitable for young children.

It is partly a musical with song and dance that complements the play's schema of story theme and visual motifs, offering good entertainment and strong food for thought. In the end when Bokassa's pardon to petty criminals grants Macheath clemency, it may signpost how Macheath compared to Bokassa, could ironically, qualify as a 'petty criminal'.

'Bonikki Gedara' comes to life

On the 25th January at Bonikki Gedara' a Sinhala translation of Henrik Ibsen's 'A Doll's House', directed by Saman Zoysa, was staged at The Tower Hall on January 25. Presented by Universal Theatre Circle, the drama offered theatricality of an appreciable nature, with well rehearsed lines and movement, though the dialogues seemed rushed at times. Overall the acting showed competency on the part of the players. Sumudu Yatawara as Mrs. Linde must be especially commended.

The last part where the transformation of Nora occurs, the rhythm and beat in her pace of words were almost the same. The words and facial expressions, and even the tone were different; however her portrayal seemed bereft of an inner silence of despondency to reflect the more contemplative woman that has arisen out of the dilemma. A better fine tuned change of psyche could have been depicted to show a transforming psychology within the character.

The stage set was not one in the strictest representation of the 'realism models' ascribed to the theatre of Ibsen and Chekhov, but it was still a convincing pragmatic design that served functional purpose as opposed to symbolic value which may be found in more post modern motifs for theatre. Costumes and make up were appreciably convincing to deliver an overall success.

A Doll's House is a prescribed text for A/Ls, BA and postgraduate courses. It must be borne in mind in this climate as Sri Lanka's divorce rate is skyrocketing, that if not acutely deciphered this story comes off as simply a story of a woman who just 'ups and leaves' without a second thought because she had had enough of a life as a mother and wife, feeling no moral obligations to her children and husband.

Farcical satirical political reflections

Harum-scarum government abounded in the Punchi Theatre on January 30, as 'Anthakpuraya Horu Kadala' (Thieves break into the harem) came to life on the boards. Originally written by Kothmale P.G. Seneviratne and adapted to the stage in its present form and directed by Priyantha Ranjan, this stage play is a humorous satire that paradoxes a cross-section of issues seen in the political landscape of days not so long past. As a farce this play proves successful. It is very entertaining and works well for contemporary popular Sinhala theatregoers. With elaborate costumes depicting monarchical times and a narrative form that switches between colloquial and antiquated speech coupled with good musicality of singing verse it is a play that possesses veins woven with tropes characteristic of olden folk play stylistics while delivering a modern pulse to viewers.

The royal treasury is empty due to the super luxurious indulgences of the king and his family. But a new palace for the growing harem must be built. The best position for a woman in the kingdom to be in is the royal harem, and women are simply obsessed with getting there! The king is desperate for a male heir borne by a woman with certain specific 'marks' as it is only then, as predicated by his soothsayer, will the throne he captured remain with his progeny for perpetuity. That is why the harem is continually growing and causing problems throughout the land and also within the royal household! The finale is one that is very much a cruel slap in the face to the present polity too. Due to the central subject matter this drama it is not well suited for children. Overall the performance was good and deserves robust applause.

An awaited return of 'No Return'

Years did I wait to capture a return of 'No Return', as the English title goes, of veteran Sinhala theatre practitioner Rajitha Dissanayake's 'Apahu Herenna Behe'. And the opportunity came my way on January 29, when the drama went on board the Wendt and I watched once more this politically explosive drama set in the time of the last phase of Sri Lanka's separatist war. Stagecraft in terms of set design was patently minimalist and aptly manoeuvrable to meet logistical needs of scene switching. The narrative mode adheres to proscenium conventionalism. As a theatre practitioner, Dissanayake is a social critic whose credo of contemporary storytelling via the proscenium, as seen in his other plays, is clearly observable in 'Apahu Herenna Behe' as well.

When a young idealist returns to the country after completing his overseas education he realises that putting his knowledge to serve his country by accepting a position in a government institution he sees his conscience, financial security, and reputation thrown into turmoil. Integrity, 'national security', an individual's conscience, the people's right to information, domestic stability, are themes that come out as clashing 'interests' in this drama.

Dissanayake's works strongly reflect the political climates in which they are conceived and thus today 'Apahu Herenna Behe' proves its worth as an artist's creative perception of a facet of the political environs that prevailed not so long ago. The performance was overall well done and benefitted from the talents of a cast of seasoned actors. And the song 'Ara balanna sudha' which hit a memorable note when the play first opened in 2008, did ring out its jovial pulse much to the audience's appreciation.

Creative workshop for beginners in theatre

The Namel Malini Punchi Theatre in Borella is making preparations to launch a 6-month creative workshop for novices who wish to become theatre practitioners. The head of the institution, veteran theatre practitioner Namel Weeramuni intends this course to provide not only training in stage acting but also for playwriting. Plot construction for theatre with the participants of the workshop is one of the key aims. A host of seasoned practitioners of the stage will provide knowledge and training for participants. The culmination of the course will be a stage drama production. Around 30 are expected to be selected for participation. Applications for both children and adults will open from February 14. For further information please contact Punchi Theatre.