Posts Tagged Oscar Wilde
Mela at Naatak – Play Review
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on September 10, 2017
Currently Bay Area’s naatak company is presenting its 59th production at Cubberley Theater in Palo Alto. This production is naatak’s annual “mela”, a sort of theater fair. There are five short plays in five Indian languages; Marathi, Tamil, Gujarati, Bengali, Hindi and Improv comedy in Hinglish. English subtitles are projected for each short play above the stage. This is an absolutely beautiful way to showcase and enjoy India’s rich linguistic and cultural heritage. After a span of 21 years, naatak can proudly claim to have broughts 55 world class plays on stage. Over 850 performers have participated in these productions and 60,000+ attendees have enjoyed these shows.
पाचव्या मजल्यावरचा वेडा – The Mad Man On the Fifth Floor – Marathi
The script for Marathi play is written by Anil Sonar. It is produced by Adwait Joshi and brilliant direction is provided by Anannya Joshi. A madman precariously positioned on the ledge of a fifth floor window is being watched by the crowd below. Some have deep concern and others don’t want to miss the excitement and yet some others are waiting with anticipation to the gruesome climax of the show with the madman jumping to his death. But what is this man up there? What is his story?
লোকে কি বলবে? – What will people say – Bengali
Directed by Sudipta Chatterjee and produced by Deepika Sriraman, and based on “He Said, She Said” by Alice Gerstenberg, this Bengali play is translated and adapted by Sudipta Chatterjee and Harish Agastya. This short play focuses on the favorite Indian pass time, “gossip”. Casting is beautiful. A woman shares some juicy gossip about a romantic dalliance involving some friends. So interesting is a role played by gossip specially of romantic nature, in Indian culture, that targets of such gossip are often compromised and vilified so strongly that they can’t just let it go but instead feel compelled to justify, defend and give excuses. Will the gossipy woman have finally met her match in the strong woman targeted by the gossip?
Naatak Improv – Hinglish
Naatak organization has matured so phenomenally that it can boldly brag to present improv comedy that is spontaneous and creative. In this short segment directed by Neha Goyal and Abhay Paranjape, a brilliant cast of characters perform improv games based on audience suggestions.
காஞ்சியின் துயரம் – A Tragedy in Kanchi – Tamil
Based on “A Florentine Tragedy”, a never completed play by Oscar Wilde, this play is set in 1930s during the Chola period, whereby a silk merchant confronts his beautiful wife and her royal lover. Will the play have an ending that befits the crime? Tamil speaking audience members are likely to greatly enjoy Kalapathy Sundaram’s brilliant translation. The projected English subtitles give some clue but it is hard to fully enjoy Wildesque witticisms in fast projected subtitles. Directed by Soumya Agastya and produced by Archana Kamath, this short play could well be Tamil speaking literature lovers’ treat.
खिड़की – The Window – Hindi
Based on “The Open Window” by Saki (H H Munro) and adapted for the stage by Mugdha Kulkarni, is also directed by Mugdha Kulkarni and produced by Chaitanya Godsay. This is a mystery about a missing husband, where an open living room window comes to play a significant role. The fear experienced by a young visitor is palpable and imaginative description of the lost man gives no clue to his disappearance until…………. Well, you’ll have to see it.
સાંભળ, તું બહાર જાય છે? – Everyone loves an errand boy – Gujarati
Based on Saadat Hasan Manto’s play, “Aao baat suno” this short play is adapted by Paresh Vyas and Vikas Dhurka and is directed by Natraj Kumar and produced by Devika Ashok. A lazy Sunday is transformed gradually into a comedy of errors, err…. into a comedy of errands. O M G — it is hilarious and also features the best dialogue, “Et tu brute” errr…. “Et tu Rajesh”.
For tickets to Naatak’s 59th Mela production, go to www.naatak.com .But hurry. There are only 2 more shows and tickets are selling out fast.
“Being Earnest” Musical – Based on Oscar Wilde’s “The Importance of Being Earnest”
Posted by Darshana V. Nadkarni, Ph.D. in Play Reviews on April 7, 2013
The new musical, “Being Earnest”, based on Oscar Wilde’s “The Importance of Being Earnest”, perhaps one of the wittiest plays in the English language, is presented by Tony Award nominee Paul Gordon and Emmy nominee Jay Gruska, at the nationally acclaimed TheatreWorks. Musical direction is by William Liberatore. It is TheatreWorks artistic director, Robert Kelley’s stagings and scenic designer Joe Ragey’s sets, that help transport the story to London’s Carnaby Street and the country estate of Mr. Worthing, and steal the show. If, “In matters of grave importance, style, not sincerity, is the vital thing”, this play is both sincere to Wilde’s clever critique of the hypocrisies of the society in which Wilde lived and stylish in its presentation. “Being Earnest” has costumes designed by Fumiko Bielefeldt, lighting by Steven B. Mannshardt and sound design Jeffrey Mockus. The play is reset to 1965.
The play opens with Algernon Moncrieff receiving his friend, Jack Worthing, superbly (played by Euan Morton and Hayden Tee respectively), at Moncrieff’s London home. Gordon and Gruska have done a fantastic job in muscalizing the classic, with superb lyrics. Jack has created an alter-ego, Ernest, to escape the drudgery of his conservative lifestyle, in the country. He has fun in London, as Ernest, and explains away his frequent absences, to his ward in the country, by saying that he has to visit his wayward brother, Ernest. In London, Jack falls in love with Algernon’s cousin Gwendolen (played by Mindy Lym) who readily accepts him, claiming, “my ideal has always been to love someone of the name of Ernest. There is something in that name that inspires absolute confidence.” Upon hearing of the secret engagement of her daughter to Jack Worthing, Lady Bracknell (superbly played by Maureen McVerry) interviews Jack and finds him unsuitable when he reveals that he is an orphan and was found in a handbag by a charitable gentleman, who raised him. Lady Bracknell says, “To be born, or at any rate bred, in a handbag, whether it have handles or not, seems to me to display a contempt for the ordinary decencies of family life”.
At Jack Worthing’s country home, Ms. Prism (played by Diana Torres Koss) is in charge of Jack’s ward Cecily Cardew (played by Riley Krull). Algernon wishing to pursue Jack’s “beautiful” ward, unbeknownst to Jack, arrives his country home, claiming to be his younger brother, Ernest. Cecily has always been intrigued by the wickedness of “Ernest”, and when Algernon tries to explain that he is not wicked, she says, “If you are not, then you have certainly been deceiving us all in a very inexcusable manner. I hope you have not been leading a double life, pretending to be wicked and being really good all the time. That would be hypocrisy”. Algernon professes his love for her and inquires whether she would still love him, if his name were not Ernest. She says, “I might respect you, Ernest, I might admire your character, but I fear that I should not be able to give you my undivided attention.” While the script has been pared down to include the songs, it retains some of the most witty original dialogues. Now there are two love stricken men looking to get rechristened by the rector, Dr. Chasuble (played by Brian Herndon). Meanwhile, Lady Bracknell considers the social possibilities of two pending marriages. To Algernon, unconcerned about society, she says, “Never speak disrespectfully of Society, Algernon. Only people who can’t get into it do that.”
This is a beautiful, must-see rendition of Wilde’s lampooning of the shallow social mores of Victorian society. It is full of superb lyrics and famous dialogues, gorgeous scenes and amazing acting. The young lovers, beautifully play the roles of flippant characters, lacking depth, and deliver Wilde’s witty and sparkling lines, with aplomb. In the end, ironically, Lady Bracknell, most shallow character of all, and keeper of traditions, reflects upon Mr. Worthing’s obsession with the name Ernest, for the sake of his love “My nephew, you seem to be displaying signs of triviality.” “On the contrary, Aunt Augusta,” he replies, “I’ve now realized for the first time in my life the vital Importance of being Earnest.”
If I were to watch only one play this season, I would select this one. “Being Earnest” is currently playing at TheatreWorks www.theatreworks.org in Mountain View.