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This story is from September 22, 2012
Theatre Review:Chairs
It���s never easy to stage works of a dramatist who believed in ���theatre of violence ��� violently comic, violently dramatic���.
It���s never easy to stage works of a dramatist who believed in ���theatre of violence ��� violently comic, violently dramatic���.
The thought of getting it right might seem particularly impossible when the title of the play is based on one of the most commonplace objects ��� incapable of any violence ��� chairs! But a handful of young but extremely able legs support this Hypokrites production, inspired by Eugene Ionesco���s absurdist work Les Chaises or Chairs, which plays around with the theme of absence.
Writer-director Asijit Datta confronts the challenges posed by absurd drama upfront by utilizing the disjointed forces of the genre to weave in a subtle message at the end of the play. Chairs revolves around a married couple, Bojor and Fj��der (meaning ���shackles��� and ���feather���), who feel suffocated in their routine life and seek refuge in a world of fantasy they create through their assumptions, discussions, collisions and consequent declarations. As the play progresses, they lay out chairs for an invisible audience as they prepare to welcome an orator who would deliver the message of sanity to mankind.
The hero of this play is Arnab Basu as Bojor. With his body language, dialogue delivery and deft use of the stage, he reminds you of a Feste or Touchstone ��� endearingly incredible. Although Dipanwita Chatterjee is more about dramatic facial expressions and hand gestures, she touches a chord as Fj��der. Anindya Sain as the orator, who ironically is deaf and mute, ends the play with his sound act.
The dialogues, written by Datta, play a role in themselves as they invoke ��� and also provoke ��� the audience to go beyond the verbose sentences. The play draws amply from
the Bible to depict the rise and fall of humanity ��� traversing a journey from Christ���s sacrifice to the consequent wars around the world in the name of religion. The scene in which Bojor bravely but mournfully twists some lines of the prayer to say, ���Give us this day our daily bread��� and clothes, and soup��� and forgive us our trespasses, as we don���t forgive those who trespass against us,��� is hard hitting.
The colours black and white have been used on stage ��� in costumes, curtains, and of course, chairs ��� to conjure a believable fantasy. Although it���s hardly rickety in its narrative ��� except for maybe the music, which should have had a stronger impact ��� Chair(s) moves you, and for once, it���s not the other way round.
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