Ekti Sohoj Khuner Golpo – An intimate theatre in the mood of reading story

Posted by Kaahon Desk On June 18, 2019

Ekti Sohoj Khuner Golpo’ is the latest production of Theatre Platform and our this review concerns the show happened on 15th March 2019 in the intimate space of Tripti Mitra Natyagriha. Written by Prochet Gupta, and Directed by Debasish Ray, who is also responsible for the lights, music, and stage decoration as well.

Debasish is an independent director of the contemporary generation. We have witnessed his prowess on the production line before, and the ease with which he handles the concomitant disciplines. All of his productions have attained a natural flow independent of his previous works, and he is always intending to present something new. This play is quite naturally not an exception. The story written by Prochet Gupta has not been transformed in a so call theatrical form, rather the story has been propagated by the protagonist’s monologue, which is reminiscent of the written form of a story. Subsequently, the mood that is created is much like reading a story than anything else. The director has tried to curve out the characters from the reader’s imagination, staying true to the essence of the monologue form. Therefore, the audience is readily absorbed in the story, enhanced by the intimate space of the performance.

Previous Kaahon Theatre Review:

Although the main plot is of a murder, it is not a so called murder mystery or a crime thriller, although there’s a lingering sense of suspense in the whole performance. The form is closer to a psychological analysis, which portrays a coup against the orthodox patriarchy. Unhealthy accumulation of negligence, contempt, and comparison with superior individuals creates a negative impact on the human psyche, which in turn translates into anger and rage, waiting to be incinerated in the fire of revenge. This story beautifully portrays this extreme outcome.

The protagonist Trisha begins to tell a tale to the audience, tale of a murder, a murder she has committed herself. She was never a bright student. Her father, a teacher was a hard-boiled man, dictated by discipline, nothing was allowed without his authorisation. His favourite student Nirmalya was a brilliant student, naturally a subject of his affection. As his student, Nirmalya would often visit his teacher’s home. From her childhood Trisha has been compared with Nirmalya, the conclusion always being her incompetence. Nirmalya never failed to neglect Trisha in turn, never recognising her existence. This wholesale neglect from Nirmalya, and insults from her father sets in motion the accumulation of anger in her, which begins to border on vengeance. Nirmalya becomes a scholar of Physics, and begins his research with electric waves. Trisha’s father sets out to arrange her wedding with his favourite student. Trisha rejects the proposal, and derives immense pleasure from it. She marries a real-estate broker Bilu, of inferior sociocultural taste. She embraces her title of the ‘bad girl’ and keeps the fire of revenge burning inside her. She hatches her evil plan, and murders her husband in a way that the blame extends to Nirmalya as well. She surrenders to the police and gives her testimony. She derives her satisfaction from this revenge, now there was no difference between ‘good boy’ Nirmalya, and ‘bad girl’ Trisha, both of them were murder accused.

Rayati Bhattacharya in the role of Trisha, is the first one that comes to mind when we begin to dissect the portion of the play related to acting. She was the keeper of the beat. She never slacked off her rhythm from the inception to the climax. The whole story is dependent on her monologue, receiving support from the other actors only through flashbacks. Clear pronunciations, fluid locutions, facile movements,temperate usage of voice, and appropriate expressions, all aided to her strength while bringing out the depths of her character, and in turn, of the play.  Debasish has made a convincing character out of Nirmalya with his calm, natural, and polished acting. Apurbo Ghosh in the role of Bilu has beautifully portrayed the nature and the social standing of the character through his pronunciation, accent, and movements. But, Shaktibrata Sinha Roy in the role of the father visibly overacted and used unnecessarily high-pitched delivery, which is improper and went against the flow of the story. This one flaw also disturbs the attention of the audience.

Athoi Jol

The small acting space has been signified with a few furniture and props. Mixer, Micro oven, Toaster, and other appliances were used as props to beautifully transmit the mood. The furniture and the props were arranged in such a way so as not to hinder the natural movement of the characters. The actors have also used the space commendably.

Lights and music have been used in a calculated way. The projection has also been carried out efficiently to create a contrast in the environment, which has enriched the space.

The professionalism with which the play has been presented, keeping the flavour of the story intact, deserves a special round of applause. The audience could become one with the experience, and become witness of the special presentation. The drama is not in the story only. The drama was very well present in the whole package, comprising in parts such as light, stage, music etc. brought together efficiently by the director. This production is a burning example of how to use a confined space in a proper order to draw in the audience, and make them one with the performance.

Pradip Datta
A post-graduation diploma holder of the Department of Media Studies, University of Calcutta, he has been a theatre activist in Bengal for the last twenty five years. He is a freelance journalist by profession. Besides theatre, his passion includes recitation, audio plays and many more.

Translation: Harit Chowdhury


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