Community 20 and GRIT Productions
The Recognition of Sakuntala
by Kalidasa
Translated by Will Johnson
Adapted and Directed by Tarek Iskander
Union Theatre
January 21 – February 7, 2009
A review by Mags Gaisford for EXTRA! EXTRA!
In Kalidasa’s Fifth Century India you were wise to watch your words. In a land of veils and disguises you could take no one at face value. Depending on the whims of the immortals, peasants could be nymphs, beggars, sages and petty bureaucrats Kings. It wouldn’t do to wait for the Scooby – Doo revelation: one false move, one callous dismissal, could send you spiralling down a dizzying, unfathomable karmic waterslide towards your ruin. Such is the lesson learnt by Sakuntala, the heroine of Kalidasa’s ancient story. Semi – immortal by birth, the foster daughter of Kanva the Brahmin sage, Sakuntala should, you would think, be guaranteed the unconditional love of the universe. But her dazzling beauty and irrepressible allure are set to complicate her destiny. When playing innocently with the animals of the forest, her ‘dangerous and corrupting charms’ lead King Dusyanta off track from his hunting expedition. A vein throbbing in his arm proves to be the premonition of the helpless love into which he is about to fall. After lengthy professions of adoration around a jasmine plant they secretly marry. So enraptured is the doe – eyed deer lover in this exciting new turn of events that she goes ruthlessly against her character, refusing to welcome a mendicant who comes asking for her blessing. Grave mistake. Under the beggar’s rags is Durvasas, the ‘powerful but cruel’ ascetic. Enraged by her neglect, his curse throws a calamitous spanner into Sakuntala’s grand love affair. No longer will Dusyanta recognise his wife. Their reunion will come about only after long and bitter torment is undergone, together with the learning of some humbling lessons and a few changes in state regulation. Recreating a Sanskrit drama by one of India’s most loved playwrights is no mean feat. There are definitely moments of magic. Danyal Dhondy’s musical score is sensitive and subtle. Straining violins compliment moments of psychological intensity and strange orchestral compositions enhance the unsettling sense of supernatural intervention. There are some smoothly choreographed hunting scenes and demon fights incorporating Emily Kane’s effectively minimal puppet design. I couldn’t help thinking the potential of the stage set wasn’t fully exploited. The Union Theatre is a lovely venue and relatively spacious. Three pillar – like constructions serve as trees and, well, pillars. There are innovative elements involving wind chimes, veils and projections, but they aren’t used to their maximum effect. The performance improves as it progresses. Lengthy emotional speeches from the lovers in the first half are difficult to engage with and the scenes feel rather static. But as the plot thickens after the interval, so the play comes together. The tone is more reflective and loaded; the stage direction more considered. Dominic Kracmar’s King Dusyanta gains increasing pathos as a complicated hero battling with subconscious intimations of guilt. Wider concerns unfold with the drama, providing cultural insights into the tensions between India’s holy community and the regal state. With Dusyanta’s psychological preparation to recognise the true, inner beauty of Sakuntala come significant changes in his attitude to ruling. Hence the suggestion that even while at the mercy of formidable cosmic forces, mere mortals can have some sway in deciding their destinies. Several of the actors play multiple roles, which enhances the theme of disguise. Ben Upsom brings welcome energy into his contrasting roles as army general and priest. Guy Moore is effectively cast as several of the characters who hold sway over fate: appearing, by turns, as the creepy Durvasa, the wise Kanva and the magnanimous god of Creation. Ultimately, it’s difficult to lay the blame in this karmic spaghetti of men and gods. Tarek Iskander’s production is ambitious and entertaining. Also, it’s worth a trip to Union Theatre for the bar alone, which is filled with interesting objects. Whoever furnished it should be commended for their original use of a ballet shoe cabinet.
0207 261 9876 www.upandcoming.webeden.co.uk £12/£10 204 Union Street, London SE1 XXX
Copyright © EXTRA! EXTRA All rights reserved
|
Couzens