Utpal Dutt, a titan of Indian theatre, whose legacy extends far beyond his stage and screen presence, established his Bengal Theatre Group in 1949, bringing the works of Shakespeare and Brecht to vibrant life. A staunch advocate for leftist ideals, Dutt's 1972 play, BARRICADE, stands as a chilling allegory for the insidious rise of totalitarianism. Decades later, Sunil Shanbag, in collaboration with Asad Hussain, has revitalized this potent work, crafting a compelling Hindustani adaptation. Remarkably, the play retains the unmistakable imprint of Dutt's original vision. This fidelity, rather than appearing dated, proves to be BARRICADE's most potent strength.
Shanbag's production deftly avoids didactic pronouncements, choosing instead to present 1933 Germany as a stark, unvarnished tableau. The audience is invited to draw their own parallels between the historical context and the present sociopolitical landscape, connecting the dots between a bygone era and contemporary realities. This approach renders BARRICADE a masterful exercise in allegorical storytelling, seamlessly blending historical accuracy with theatrical artistry. It's a work that resonates with those deeply versed in political history yet remains accessible to those new to such narratives.
The play plunges us into the tumultuous German elections of 1933, a period marked by escalating political violence and the Nazi regime's calculated campaign of disinformation. This narrative unfolds through the eyes of a disheveled journalist, a classic seeker of truth, who serves as our guide. He paints a stark portrait of Hitler's electoral setbacks, revealing the Fuhrer's inability to secure a genuine popular mandate. His editor, however, dictates sensational headlines, compelling the journalist to fabricate stories that bear little resemblance to reality. Yet, a flicker of journalistic integrity persists, driving him to uncover the truth behind the Nazis' systematic dismantling of the worker's coalition.
Photo Credit - Raj Lalwani
BARRICADE features a dynamic ensemble of twelve actors, each embodying a distinct character within this complex narrative. Archival footage from 20th-century Germany enhances the historical authenticity. We encounter a widow, her fragility masking an iron will; a fiery orator from the Labourer's Party; a learned physician; a predatory Nazi officer; a morally compromised editor; a principled judge; an arrogant police official; and the oppressed masses. These meticulously crafted characters, each a vital thread in the narrative tapestry, illuminate the era's complex social landscape. Notably, the play delves into the grey areas of human psychology, exploring the profound moral dilemmas that individuals confront amidst political upheaval. Hrishabh Kanti's ambiguous portrayal of the Nazi officer, revealing the chillingly human facets of a figure untypically rendered as a monolithic villain. Similarly, Dusha delivers a deeply nuanced depiction of a Catholic mother, her faith tested by the encroaching darkness, grappling with the chasm between her spiritual convictions and the brutal realities of a world descending into chaos. Asmit Pathare's unwavering portrayal of the principled judge provides a counterpoint, embodying the steadfastness of integrity in a climate of moral compromise. Anchoring the narrative is Arpit Shashwat, whose portrayal of the journalist is remarkably believable, capturing the character's internal conflict between journalistic integrity and the pressures of a manipulated reality. The brilliant casting, coupled with these compelling performances, allows the audience to witness the interwoven experiences of the characters, each a microcosm of the era's complex social and political landscape.
BARRICADE echoes Noam Chomsky's warnings about media manipulation and serves as a powerful illustration of the reification of truth, a concept explored by Gyorgy Lukacs. The play's central concern lies in the manipulation of information, a theme that resonates profoundly in an age of pervasive misinformation. When information becomes a tool of control, when censorship stifles artistic expression, and when civil liberties erode, the distinctions between historical tyrannies dissolve. The play demonstrates how any power-hungry regime, be it Nazi Germany or any other nation, employs a universal language of oppression.
Music, though minimal, plays a crucial role in conveying these nuances. The anachronistic use of Richard Wagner's "Ride of the Valkyries" sets the ominous tone of 1933 Germany, while Walter Kaufmann's String Quartet No. 11 provides a poignant counterpoint, representing the voices of the exiled and oppressed. "The Internationale" serves as the anthemic voice of the communist movement, further enriching the play's thematic depth. The musical selections imbue BARRICADE with a language that transcends words.
Photo Credit - Raj Lalwani
The minimalist set design, featuring vertical banners imprinted with newspaper text and Marx's diaries, contrasts sharply with Utpal Dutt's grandiose productions. This deliberate choice allows the play to focus on its core message, making it suitable for newer theatre spaces. The use of Hindustani, while distancing the play from its original German, lends it a captivating quality. However, the occasional use of modern Hindi slang could have been avoided, as the Hindustani language itself is powerful enough.
Shanbag's production avoids the pitfalls of earlier communist works by ensuring that female voices are not secondary. Instead, he elevates their narratives, presenting women as agents of change, not mere victims of socio-historical forces. BARRICADE culminates in the chilling image of books burning at Humboldt University, a stark reminder of the dangers of censorship. In an era where journalists, comedians, and political opponents face increasing persecution, BARRICADE stands as a vital and timely work.
A particularly resonant line, delivered by a well-read doctor who initially seeks to remain apolitical, encapsulates the play's central message: "Better than following the authoritarian regime, it's best for me to join you, else what was the point of my life reading Marx and Schopenhauer?"
Dr. Omkar Bhatkar is a Sociologist and Playwright. He has been teaching Film Theory and Aesthetics and involved in theatre-making, poetry, and cinema for more than a decade now. He is the Artistic Director of Metamorphosis Theatre and Films.
