Bade Bhaisahab And Garam Kamra play review , Hindi play review

	Direction : Sunil Shanbag Cast : Rumi Jaspal, Girish Jain
Bade Bhaisahab And Garam Kamra play review

Deepa Punjani

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Director Sunil Shanbag's double-bill, BADE BHAISAHAB and GARAM KAMRA is a well-orchestrated testimony to the fact that theatre can prove to be quite potent when it is at its simplest best. Indeed the two short plays are a salute to the very spirit of the theatre as they communicate the vitality of the basic elements such as a good story and good actors. Nothing else then seems to matter much-neither the lack of a set or the space in which the play is being performed.

It is also thanks to theatre people like Shanbag that meaningful and intelligent theatre is not left to the vagaries of dates, availability of theatres, finance and of course to the increasing nature of short attention spans. This kind of theatre continues to thrive through its exploitation of new performance spaces and by that measure even performs a community service as new audiences are initiated to the theatre.

BADE BHAISAHAB is not only one of Munshi Premchand's well-known stories but has also been frequently adapted for the stage. On the surface of it the narrative may appear dated given the period in which it was written but its enduring appeal lies in its ability to convey the different shades that lurk beneath a familial relationship. What makes it further enjoyable is its simple prose, which is capable of being perceptive at the same time.

Rumi Jaspal plays the younger brother and meditates over his relationship with his elder brother played by Girish Jain. Jaspal as the younger brother engages us in his reminisces about his elder brother but he takes some time to get into the act. On various occasions he comes as being more earnest than is required but he eventually becomes comfortable with the character that he is required to play. Jain on the other hand plays the disciplined, hard-working older brother with the sternness and restraint that is required of him.

Both actors however could do better if they would give more breathing space to their respective characters. They speak their lines with a great deal of care and clarity but while the enunciation is perfect, the emotion accompanying it takes a backseat at times. This could perhaps be a question of getting the pace of the piece right and it is something that the two competent actors can easily work on.

While on the subject of acting skills, it must be said that the rapport between actors Kumud Mishra and Pramod Pathak in the second play GARAM KAMRA couldn't have been more perfect. Pathak plays an archeologist while Mishra plays the role of a businessman. Their professions are revealed to us during the course of their interaction and help in establishing their identity.

But although the two characters' professions come to have a bearing on their interaction, it is their individual natures, their way of thinking and their idiosyncrasies that make GARAM KAMRA a delight to watch. The scene is set in a well-heated sauna and the setting itself acts as a metaphorical device for the conversation that emerges between the two characters.
Originally written by a Hungarian playwright who apparently goes by the name of Ferentz Karinthi, this one-act play was translated into Hindi by poet, translator, short-story writer and journalist, Raghuvir Sahay. Sunil Shanbag and Pramod Pathak reworked on the translation and made it further adaptable for the stage. What makes this one-act very interesting is the way in which a harmless enough setting and conversation acquires the complexity of a game of wits as the characters bait each other.

Tinged with black humour, the play blends real and absurd elements that call for reflection and pathos. Slowly and steadily as the ego of the two characters leads to their final undoing, the frailties of humankind come to the fore. In its fundamentally bizarre and comic nature lies its supreme quality to provoke thought.

The red light that envelops this piece creates an atmosphere that is conducive to a play of this kind. The stage is bare except for a single bench. This austerity is also a mark of the first piece in which there is only a small writing table. In both the plays the actors move with an appropriate sense of purpose as the action rests more on narration and dialogue. This double-bill undoubtedly proves to be a cathartic experience in its minimalist but very effective approach. This kind of theatre above all comes across as possessing integrity, which unfortunately is at a premium these days.

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