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GREASE YAKA RETURNS

Playwrights & Directors: Nishantha de Silva & Rajitha Hettiarachchi
Group: Ananda Drama, Sri Lanka
Language: English
Duration: 1 hr 05 mins

The Play

Prologue – Fear Walks

Study Partners – Sahani and Arun ‘study’ despite Kalana, when they see their creepy neighbour.

Lu, Lu – Sahani posts a story that goes viral.

Bus Stand – Kanthi and her daughter Charini learn about the grease yaka.

Shoe Shopping – Arukshi is shoe-shopping with Kishan, helped by a greasy salesman.

Lunchtime – Supun, Hansani, Ms. Shriya and Mr. Manjula are public servants. What happened to their dessert?

Channel Surfing – TV shows enthrall the nation. What is this grease disease?

Warriors – Sahani conducts a make-up tutorial, but can ‘darkies’ discuss beauty?

Spilt Coffee – Charini appeals to Arukshi for help against discrimination.

Fairness Treatment – Sahani needs help to become fairer.

Mirror – The politicians are with us.

The Cure – Kanthi seeks medical help for Charini.

Consequences – Riots!

Another Beginning – We look to our leaders.

Epilogue: A Mother’s Love – Is there a cure?

 

Directors’ Note

The Grease Yaka (grease demon) myth describes scantily clad, grease covered men suspected of crimes ranging from voyeurism to rape to abduction and murder in Sri Lanka. Although no grease yakas were ever caught, grease yaka ‘sightings’ hogged the headlines from time to time, causing widespread alarm and panic, especially during the conflict period. Ananda Drama’s Grease Yaka (2014) examined the emergence and proliferation of fears in the society by using this urban legend as a metaphor and a tool.

Grease Yaka Returns, first staged in 2018, explores the corrosive and sometimes devastating consequences of those fears. It looks at how easily distrust can be sown between various groups in the society through the aggregation of relatively small event and incidents. It looks at how quickly this distrust can morph into social divisions, sometimes even erupting in violence. It holds a mirror, and a warning, to the society.

 

The Directors & Playwrights

Nishantha de Silva is the founder of Ananda Drama, a non-profit theatre company based in Colombo, Sri Lanka. Before Grease Yaka Returns (2018), Nishantha co-wrote and directed the trilingual political satire Picket Republic (2017) and a comic adaptation of Dracula (2015). He produced Grease Yaka (2014) and Grease Yaka Returns (2018) for Ananda Drama. Together with Rajitha, he won the awards for Best Direction and Best Original Script at Sri Lanka’s State Drama Festival 2019 for Grease Yaka Returns, which won a total of 10 awards including Best Play. His other directing credits include The Tempest at The Workshop Players’ Shakespeare in the Park Festival 2017 and Stuart Paterson’s adaptation of Michael Morpurgo’s Kensuke’s Kingdom (2013). He holds an M. Phil from Cambridge University and a Fellowship in Directing from Trinity College London.

 

Rajitha Hettiarachchi joined Ananda Drama as a writer and director following its establishment in 2013. Rajitha co-wrote Grease Yaka (2014) with its director Ruwanthie de Chickera whilst also acting in it. He acted in Stages Theatre’ Group’s Walking Path, which won Best Play and Best Ensemble Cast at the THESPO theatre festival in Mumbai in 2014. Rajitha founded the performance company Idea Couch and was an Art Think South Asia Fellow in 2018. He holds a B.A. in English from Sri Jayawardenepura University and is an Attorney at Law.

 

The Group

Ananda Drama grew from the work carried out by its founder Nishantha de Silva and other alumni at Ananda College, Colombo, since 2006. With many students involved in the school’s English theatre activities wanting to continue their work in theatre after graduating, Ananda Drama was formed as a non-profit entity in 2014 to showcase their work to the general public.

 

Cast & Credits

Students LeethSinghage (Kalana),EshaniSeneviratne (Sahani)
  LakshithaEdirisinghe (Arun),
Mother and Daughter Dmitri Gunatilake (Kanthi),DinooWickramage (Charini)
Couple Ashini Fernando (Arukshi),ChalanaWijesuriya (Kishan)
Government Servants JayaviJayawardhana (Hansani), Sabreena Niles (Shriya),
  LithmalJayawardhana (Supun), Gavin Ranasinghe (Manjula)
Opportunists CharithDissanayake, NandunDissanayake
  Pemanthi Fernando,ErajGunawardena
  AyudhyaGajanayake,RithmakaKarunadhara
  ViduraManoratne,MalithKulathilake
  Amandi Kulathilake, Hiruni Herath
Design,Make up &Lights Jayampathi Guruge
Music Composer Ranil Goonewardena
Sound IshtarthaWellaboda
Costume Designer Dinushika Sewwandi
Stage Management Rajitha Hettiarachchi, Rithmaka Karunadhara
   
Playwrights & Directors      Nishantha de Silva
                                                Rajitha Hettiarachchi

                                                                                                           

 Contacts

St. Rita’s Road,

Colombo – 00350

Sri Lanka

M: +94 777268164

E: pem4christ@gmail.com

W: www.anandadrama.org

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CONFERENCE OF THE BIRDS

Playwright: Farid ud Din Attar
Director: Wendy Jehlen
Group: Anikaya, USA
Language: English
Duration: 1 hr 20 mins

 

The Play

Conference of the Birds is an evening-length movement theatre work, conceived and directed by Wendy Jehlen and inspired by the epic poem of Farid ud Din Attar. It is a tale of a group of birds that set off in search of the mythical bird, the Simurgh.  Many of the birds abandon the quest. When the remaining birds arrive in the land of the Simurgh, they find themselves reflected… they are the Simurgh. We use Attar’s text as a frame for narratives gathered from refugees and other migratory people, symbolizing the journey that we, the diversity that is humanity, take together. It is a story of found community, of the necessity of difference. Conference of the Birds has been supported by the Doris Duke Foundation for Islamic Art, The Boston Foundation, Jacob’s Pillow, Arts Emerson, Theatre Communications Group, New Music/USA and National Endowment for the Arts.

 

Director’s Note                                                                                  

Conference of the Birds poses the question:  How can we be different together?  The performance proposes an answer. Anikaya explores this question by translating contemporary migrant stories into dance. In the creation of the work, the company directly engaged with refugee and other migrant communities throughout the creative process. Through a community-based, artist-led process, we have created a framework within which a dynamic evolving presentation can happen – relevant to the moment. Conference of the Birds addresses many narratives at once. It addresses issues pertinent to religious and cultural minorities, gender and sexuality, refugees, and works to counteract xenophobia in its many manifestations – both in content and in the composition of the company. Re-contextualising this classical Sufi text illuminates current moment in history, bringing to full circle the idea that human history is a history of movement, mingling and entanglements.

 

The Director

Wendy Jehlen’s career has been marked by international explorations, study and creative collaboration. Wendy engages in collaborations across languages, culture, media and genres.  Her work questions the boundaries that we imagine between ourselves, and seeks to break down these imagined walls through an embodied practice of radical empathy. Her unique approach to choreography incorporates elements of Bharat Natyam, Odissi, Capoeira, Kalaripayattu, West African dance, Butoh, and a wide-range of contemporary movement forms. Her emotionally powerful choreography has been created and performed in the US, Canada, Italy, India, Japan, Brazil, Benin, Burkina Faso, Botswana, Mali and Turkey. Her works include Delicateness in Times of Brutality (2017), a duet with Deaf Butoh artist Dakei; Entangling (2015), a duet inspired by Quantum Entanglement; The Deep (2015), a work for 25 dancers created in Brazil; Lilith (2013), a solo on the first woman; The Knocking Within (2012), an evening-length duet on a disintegrating relationship; Forest (2010), a journey through the archetypal forest; and He Who Burns (2006).

 

The Poet

Abū Ḥamīd bin Abū Bakr Ibrāhīm, better known by his pen-name Farīd ud-Dīn Aṭṭār, was a Persian poet, theoretician of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and Sufism. Manṭiq-uṭ-Ṭayr (The Conference of the Birds) and Ilāhī-Nāma (The Book of Divine) are among his most famous works.

 

The Group

Anikaya’s mission is to break down the perceived boundaries between people, cultures and art forms. Our work has so far extended to the US, Benin, Brazil, Burkina Faso, Canada, France, India, Italy, Japan, Korea, Mali and Turkey. Anikaya weaves together music, dance and storytelling to create works that pull from the full range of the body’s communicative capabilities. We incorporate traditional forms, internalizing them and then allowing them to reemerge as part of a new contemporary movement vocabulary. The result is work that is resonant of deep-rooted traditions, without being bound to any particular genre, place or practice. The ensemble includes performers from Benin, Brazil, Egypt, Indonesia, India/South Africa, Japan, Turkey and the US.

 

Cast & Credits

Dancers Ibrahim Abdo (Egypt), Yasin Anar (Turkey), Sarveshan Gangen (South Africa/India), Kae Ishimoto (Japan), Danang Pamungkas (Indonesia), Luciane Ramos da Silva (Brazil)
Music created by Fraction (Eric Raynaud) (France), Shaw Pong Liu (USA), Shaho Andalibi (Iran/Canada), Deraldo Ferreira (Brazil/USA)
Light Design Stephen Petrilli (USA)
Light execution Gregory Casparian (USA)
Projection Design David Bengali (USA)
Calligraphy artist & content consultant Pouya Jahanshahi (Iran/USA)
Director/Choreographer        Wendy Jehlen (USA)

 

                                     

Contacts

Director, Anikaya

67 Dane St., Somerville, Massachusetts,

USA- 002143

M: +1 6178617930

E: wendyjehlen@gmail.com

VAST de PHILIPPE PELEN
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VAST

Playwright & Director: Phillippe Pelen Baldini
Group: Surya Performance Lab, Auroville (T.N.)
Language: English
Duration: 1 hr

 

The Play

This is the story of a young boy from Nepal who has been abducted and taken away from his family and home in the Himalayan Mountains. Kidnapped and abused, he now lives in a slum in a big city in India. He is all alone in the world, living stifled in his small room. He tries, day after day, to find in his body a door that opens to the ‘Vast’, a path to his Himalaya, and his own limitless nature, beyond confinement and misery. An encounter with a strange character helps him on his journey. This is the god Hanuman, with monkey and human features, heroic, wise, and full of humour.

Vast is an organic, physical and dance based performance that is hypnotic, emotional and universal. It showcases how the human body carries in itself the memory of the ‘Vast’. How the human body – beyond ruptures, oppression and confinements – has the nostalgia of nature and vastness.

 

Director’s Note

For the young boy whose childhood and dreams were shattered, the journey from confinement to freedom is a process of reconnection with nature and with himself, without any limitation. In this journey he is helped by Hanuman. Together they reconnect with the ‘Vastness’ they both come from. Hanuman is introduced here as a special character, the symbol of primordial memory. The play proposes a work on the memory of the body.

We are also exploring the relationship between body and the mother-tongue, between body and the ancient mantric poetry, between body and words. We draw upon contemporary dance, theatre, vocal work, and even aerial dance to explore this inner territory between confinement and Vastness. From gravity to weightlessness, it is also an exploration of the body being free in three dimensions, and of its expansion into Vastness.

 

The Director & Playwright

Born in France, Phillippe Pelen Baldini is the founder of Surya Performance Lab in India. He had earlier founded the International Talipot Theatre in Reunion Island, France. He has created and directed 40 shows with dancers, actors, musicians, and video creators from Africa, India, Europe and territories in the Indian Ocean. His productions have been welcomed at Opera de Paris, Théâtre de la Ville de Paris and well-known festivals in Honk Kong, Singapore, Italy, Brazil and South Africa. He has toured and worked in 82 countries. His shows have received awards in Poland, Scotland, France, Italy and South Africa, among other countries. He also directs workshops worldwide with professional dance companies, universities, townships and communities. He is interested in indigenous culture and has worked a lot with people from different ethnic groups in South Africa including the San communities as well as other different communities.

 

The Group

Surya Performance Lab is a dance-theatre company based in Auroville, India. In its 50-year long history it has worked with devoted artists and has performed in more than 82 countries. This professional company is directed by Philippe Pelen Baldini and Thierry Moucazambo. The group welcomes dancers, actors, photographers, video designers, painters, etc. from India and all over the world. Surya Performance Lab endeavours to create a bridge between art, science and consciousness. Inspired by the ‘First people’, indigenous cultures, ancient traditions, new discoveries in the field of body-mind consciousness and quantum science, it creates a contemporary expression and art, a new dramaturgy holistic and humanist, open to nature and the planet.

Cast & Credits

Performers Thierry Moucazambo, Gopal Dalami
Light Technician Ashwin Ezhumalai
Assistant Director Thierry Moucazambo
Director and Choreographer Philippe Pelen Baldini

 

Contacts

Director, Surya Performance Lab

E-4, Sunship Apartments, Auroville, Bommayapalayam,

Tamil Nadu, Auroville, Tamil Nadu 605101

M: +91 8903869078

E: suryaperformancelab@auroville.org.in

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RICHARD III

Playwright: William Shakespeare
Director: Guy Roberts
Group: Prague Shakespeare Company, Czech Republic
Language: English
Duration: 2 hrs 50 mins

 

The Play

Shakespeare’s conclusion to his epic Wars of the Roses chronicles, Richard III is a riveting portrayal of the politics of power, both personal and political, at their most devious and bloody. Deformed in body and spirit, this depraved madman is obsessed with becoming King of England. Does he fall? Of course, but not before he has taken all of us on his wickedly entertaining ride. Jealous and crippled, Richard of Gloucester murders his brothers, nephews, and any opposition to become King Richard III. In the end, Henry of Richmond raises an army, kills Richard in battle, and becomes King Henry VII.

 

Director’s Note                      

Like Richard eating away at anyone in his path, the play Richard III gnaws on our global consciousness. It is a story that plays out time and time again, and, if anything, has become even more relevant now, over four hundred years after it was written, with corrupt leaders doing absolutely anything to achieve and maintain power. I am excited to present a new production of this timely play supported by the exciting and dynamic multi-national artists we have assembled for this special event. PSC is continental Europe’s only professional English-language Shakespeare company, employing artists from across Europe, Asia and North America, by bringing together a group of artists from many different cultural sensibilities. We are able to come together, united by the words of William Shakespeare, as we explore the deep resonances this play brings out concerning national identity, politicians, corruption, honor, duty and the extreme measures, people – both good and bad, will push themselves to in their ambitious climb to the heights of power.

 

The Director

Guy Roberts is the Founding Artistic Director of Prague Shakespeare Company (PSC). Guy won the 2018 Best Actor Houston Theatre Award for his performance of the Poet in An Iliad. Guy has been awarded the TG Masaryk Medal of Honor from the Masaryk Democratic Movement in recognition for his work promoting arts and artistic freedom, and the inaugural Sidney Berger Award from the Shakespeare Theatre Association in recognition of his outstanding talent and dedication to the works of William Shakespeare. His award-winning work as actor, director and producer has been seen in over 200 productions in the US, Czech Republic, France, the Netherlands, India, Hungary, Austria, Slovakia, Poland, Qatar and Egypt and has been honored with multiple awards and over 100 US theatre award-nominations for Best Actor, Director and Production.

 

The Playwright

William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford-upon-Avon. Shakespeare was a prolific writer during the Elizabethan and Jacobean ages of British theatre (sometimes called the English Renaissance or the Early Modern Period). Shakespeare’s works include 38 plays, 2 narrative poems, 154 sonnets, and a variety of other poems.

 

The Group

Based in Prague, Czech Republic, the award-winning Prague Shakespeare Company presents professional theatre productions, workshops, and other theatrical events of the highest quality, conducted primarily in English by a multinational ensemble of professional theatre artists, with an emphasis on the plays of William Shakespeare. Celebrating its 12th year, PSC has entertained, enriched, enlightened and inspired students and audiences not only in the Czech Republic but in India, United States, Hungary, France, Egypt, Qatar, Netherlands and elsewhere around the world.

 

Cast & Credits

Richard Duke of Gloucester/King Richard III Guy Roberts
Queen Elizabeth Jessica Boone/Lady Anne Deputy High Commissioner Jan Thompson, OBE
Edward IV Lane Davies
Buckingham Scott Bellefeuille
Richmond/Henry VII Taylor Napier
Clarence/Catesby Jeff Smith
Margaret Abigail Rice
Duchess of York Julie Josephson
Hastings/Lord Chamberlain John Poston
Archbishop Robert Orr
Lord Rivers Dan Brown
Lord Grey Stanislav Callas
Lord Stanley Bob Boudreaux
Tyrrel Vanessa Gendron
Ratcliffe Grant Podelco
Sir Robert Brackenbury/Keeper of the tower David Fisher
Princess Elizabeth Natassia Bustamente
Prince Edward Julian Bellefueille
Light Designer Premysl Janda
Costume Designer Eva Bellefeuille
Hair & Make-up Designer Eva Nyklickova
Stage Manager Eric Sammons
Assistant Stage Manager Kris Ayers
Playwright                                                      William Shakespeare                         
Director                                                          Guy Roberts

                       

 

Contacts

Director, Prague Shakespeare Company

U Havlickovych Sadu 1531/11, Prague 2,

Czech Republic- 120000

M: +420 776469159

E: eric@pragueshakespeare.org

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MONDAYS ARE BEST FOR FLYING OUT OF WINDOWS

Playwright: Daniil Kharms
Director: Rajiv Krishnan
Group: Perch, Chennai
Language: English 
Duration: 1 hr 30 mins

 

The Play

A girl finds a job as a cashier in your store, turns the handle on the cash-till and dies. What do you do? Stick a mushroom in her hand and pretend she’s alive. People throw themselves off windows, they leap out of cupboards, they spend maddeningly long hours in queues, they attack each other with snot and cucumbers, they fall, they sleep, they fight, they die. This is the world of Daniil Kharms. Chaotic, absurd, sometimes frightening, often incomplete. And you find that the only rational response is to laugh. The worse it gets, the more you laugh. Kharms is the master of dark laughter. It’s so ridiculous, so absurd, it can’t be true, right? Right?

 

Director’s Note

Our approach to Kharms was from a state of complete unknowing. A piece of text, a thought, an idea or an image triggered off our explorations. The entire process was a challenging one to say the least. This play represents our individual and collective response to Kharms, conceived in a true spirit of collaboration.

Puppets play an important role in this piece. The choice of working with puppets was a chance occurrence. Not being trained puppeteers we started from scratch, using storytelling as a guide. Like every piece of ours, we see this work too as a work in progress, evolving as we present it to audiences. And as much as we want to engage and provoke you, the audience, we hope that you will engage with the piece and provoke us in turn. In true Kharmsian spirit, we invert the typical theatre greeting and direct it to the audience – Break a leg!

 

The Director

Rajiv Krishnan is a theatre director and actor based in Chennai. His first play as a director was an adaptation of the comic satire Accidental Death of an Anarchist (Dario Fo) in 2000. In 2004, he organized a fortnight long festival called ‘Angloscapes’ focused on the Anglo-Indian community for which he co-adapted and directed a play inspired by Tennessee Williams Glass Menagerie in English. It was with this festival that the theatre collective Perch informally came into being.

 

The Playwright

Daniil Kharms (1905-1942), was an early Soviet era absurdist poet, writer and dramatist. He was often incarcerated by the Stalinist regime of his time for his unconventional and rebellious ways. His adult literature was not published during his lifetime and he was confined to writing for children. He is said to have starved to an anonymous death in the psychiatric ward of a Soviet hospital after being arrested during the siege of Leningrad in 1942. His stories defy easy characterization – they may start humorously but quickly turn dark, many featuring random acts of violence.

The Group

Perch is a theatre collective based in Chennai. It was formed by a motley bunch of actors, designers, filmmakers, journalists and others in 2008. Perch has been constantly exploring new ways of storytelling on a variety of themes from pure fantasy to contemporary Indian reality, from humour to political satire. Starting with adaptations of well- known plays and short stories, they have also explored devised work which is multilingual, collaborative and ensemble driven with a strong focus on visual design and music.

 

Cast & Credits

Created & Performed by Iswar Lalitha, Rency Philip, Sachin Gurjale, Vijay Ravikumar, Vinod Ravindran
Music Abhaydev Praful
Photography Richa Bhavanam
Costumes Kaveri Lalchand
Puppets and Prop making Iswar Lalitha, Rency Philip, Sachin Gurjale, Vijay Ravikumar,
  Vinod Ravindran
Set and Light Design Kalpana Balaji, John V. Mathew
Production Management Anushka Meenakshi, Bharavi
   
Commissioned by The Serendipity Arts Festival
   
Playwright                              Daniil Kharms
Director                                  Rajiv Krishnan

 

Contacts

Director, Perch

7, Bazullah Road, T Nagar

Chennai, Tamil Nadu- 600017

M: +91 9840700567

E: anushka.meenakshi@gmail.com

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All Plays English Indian Plays

LOOSE WOMAN

Playwright & Director: Maya Krishna Rao
Group: Vismayah, Delhi
Language: English
Duration: 1 hr 15 mins

 

The Play

Loose Woman is about the travels of a woman – into and out of herself. To make this show, a performer, a video & sound designer, and a singer, through a series of improvisations, ‘looked for her’ in different places, in different manifestations. The stories that emerged were given an episodic form. They each stand alone, though a loose thread connects them all. We see her at home getting ready for office and then, on a whim, stepping out of her cab and disappearing altogether. In ‘Dancer’ she discovers what it means to not walk the straight and narrow but to ‘side-step’. ‘The Line’ jolts her into the realization of how precious her own looseness really is. And so on…

She looks for, she muses, she discovers the possibilities of ‘looseness’ in her life – of new directions she can create. The very ground beneath her seems to shift when she reacts with objects and characters from the world around her. She rediscovers her own mother. Even Gandhi enters her universe.

With humour, yet serious introspection, Loose Woman has been conjured, coaxed and driven by different mediums – theatre, sound, dance and the camera. Of course, the underlying reference here is to the heavy irony in the throwaway expression ‘loose woman’, whose application is rampant in a skewed familial and social setting crafted by just one sex.

For the purposes of this show, though, she’s not loose enough….not yet!


Director’s Note

Way back in 2002, I had made a show called A Deeper Fried Jam. In trying to recreate it, I found myself veering towards this woman – the ‘loose woman’. Possibly, it’s the sign of our times – it is by looking through a woman’s gaze that we see, in sharp relief, currents and under currents at play in society. The one person who carried over from the 2002 show is Gandhi – he seems to have travelled over the years and found a firm place in the ‘loose woman’s’ universe. This performance derives in its entirety from improvisations with a guitar player and a singer. Musically too, we wanted to keep it open – traverse a range of musical references – from rock to blues to sounds closer home. For each show we change the mix of episodes, to keep her fresh and alive.

 

The Director & Playwright

Maya Krishna Rao is a theatre artist and teacher. Her shows range from dance-theatre to cross media collaborations to comedy. She is her own performer, writer and director. Some of her celebrated performances are, Khol Do, The Job, A Deeper Fried Jam, Heads are Meant for Walking Into and Ravanama. Walk was created in response to the horrific gang rape in a moving bus and eventual tragic death of Jyoti Singh in 2012. Her latest, Loose Woman, are explorations of the extents to which a woman can stretch and redefine herself.

 

The Group

Vismayah was founded in 1993 under the chairpersonship of Shri P.N. Haksar, diplomat and iconic policy maker. On a regular basis Vismayah attempts to create new theatre, drawing upon our traditions of dance, music and the other arts. Among it’s celebrated productions are Khol Do, A Deep Fried Jam, Heads are Meant for Walking Into, Are You Home, Lady Macbeth? and Ravanama. Vismayah also works in the area of education, conducting workshops for teachers and students on drama as a methodology of education. Vismayah performances have travelled to various places, both across the world and in India and have been received with critical acclaim.

 

 

 

Cast & Credits

Performer Maya Krishna Rao
Sound design Sumant Balakrishnan,
Video design Anuj Chopra & Santana Issar
Lights Anuj Chopra
Costume Pratima Pandey
Stage Assistance Dhruv Malik
Concept, Creation  
& Direction     Maya Krishna Rao

 

 

Contacts

Director, Vismayah

A 30 Friends Colony East

New Delhi- 110065

Ph: 011-41058951

M: +91 9818324311

E: mayamaze@gmail.com

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All Plays English Foreign Plays

LIVE NUKES!

Directors: Kevin Duvall & Taylor Brewerton
Group: The Central Scrutinizers, USA
Language: English
Duration: 1 hr

 

 

 

The Play

When two boorish government lackeys working in a nuclear facility accidentally launch a nuclear weapon into the stratosphere, the chase is on! The mismatched duo’s quest to save the world from nuclear annihilation hurls them from a decrepit bunker, down a sketchy roadside, through the clouds, and down to the very depths of Hell itself. Their journey, of course, culminates in a valiant duel against the king of demons. This critically-renowned screwball comedy has toured across America in 2019, and has been hailed as a “master-class in mime and physical comedy”. Live Nukes! is a truly international play, performed without the use of props, set, or real words of any kind!

 

Director’s Note

We believe that theatre can be a universal art form. When we began working on what would become Live Nukes!, we set a few strict rules for ourselves in the hope of creating a performance which could be enjoyed by anyone, regardless of their native language or national origin.  The rules were as follows: no props, no set, and no real words. Chicago is a city of immigrants, and in order to bridge the real gap that exists between the theatre community and Chicago’s very diverse population, we needed to make a comedy which transcended language and culture. In the spirit of silent cinema, tinted with the apocalyptic concerns of our contemporary political climate, we devised a play which, we hope, will poke fun at our increasingly-grim global outlook.

 

The Directors

Kevin Duvall and Taylor Brewerton are a physical theatre duo who have been collaborating as actors, directors, and writers for over a decade. Together they have developed work in myriad theatrical forms, from a devised farce, to an adaptation of Salman Rushdie’s short story The Prophet’s Hair, the high tragedies of Shakespeare and Euripides, environmentalist game shows, and beyond. They have performed at many venues across the United States and Canada. Kevin and Taylor both hold Masters from the Dell’Arte International School of Physical Theatre. They are honoured to be given the opportunity to present their wordless, absurdist pantomime Live Nukes! at the Bharat Rang Mahotsav.

 

The Group

The Central Scrutinizers is not a theatre group in the traditional sense, but is an ensemble of a duo, Kevin Duvall and Taylor Brewerton who collaborate on script, performance and direction.

 

Cast & Credits

Performers & Directors                                 Kevin Duvall & Taylor Brewerton

 

 

Contacts

The Central Scrutinizers

1517 W Hollywood Ave, Chicago, IL

United States- 60660

M: +1 8048373327

E: livenukeslivenukes@gmail.com

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All Plays English Foreign Plays

KUMARI AND THE BEAST

Playwright & Director: Kavita Srinivasan
Group: Sushila Arts Academy, Nepal
Language: English
Duration: 1hr 10mins

 

 

The Play

Satya Yuga (era of truth) was an era when gods, demons and humans cohabited the earth. Set in this time is the story of goddess Kumari who came to rule the kingdom of Kathmandu. The legend describes a young goddess Kumari, born to the gods Svet-Kali and Svet-Bhairav in the neighbourhood of Nardevi in ancient Kathmandu. To their alarm, she falls in love with an asura (demon), Chanda. Their tumultuous love story ends tragically, as Kumari ultimately sacrifices her love to in order to fulfil her duty. Her parents in return, make her the ruler of Kathmandu.

Kumari and the Beast is an interpretation of the story told by Maheswor Juju Rajopadhyay in his book of short stories Nepali Adhyaatma Jagat ko Itihas (History of Nepal’s Spiritual World). The story is presented through a fusion of Nepal’s classical Charya dance and contemporary dance-movement, with live music and vintage photography.

 

Director’s Note

Three things attracted me to this story: First, the story provides a fascinating role model of how a female child can hold one of the highest positions of social and political power, and can remain unmarried of her own will. In a world where power has been known for eons to be held by the senior-most male, the relevance of such a figure is immense.

Second, the story’s central theme of ‘forbidden love’ remains as relevant today as it was ages ago. Society’s condemnation of certain kinds of love based on caste, creed, gender, race etc. continues to trample on the fundamental right to choose.

Last, the sacrifice of the beast is symbolic of the price that society extracts from each of us.

 

The Director & Playwright

Kavita Srinivasan has focused on stories of culturally iconic figures like Gautama Buddha and Goddess Kumari, reinterpreting and telling their stories in a way that fuses the classic and the contemporary, focusing on the human element, through movement, dance, music, theatre and visual art. She also created Nepal’s first online sitcom P.S. Zindagi (Post Seismic Zindagi) which won local and international recognition. Kavita has done two Masters – in Architecture, and in City Planning – from the Massachusetts Institute of Technology (MIT, USA).

 

The Group

Sushila Arts Academy (SAA) is a theatre dance music and arts institution in Kathmandu, Nepal founded in 2012 with the aim to promote the Arts in Nepal. Since its establishment, it has been providing hundreds of scholarship seats to talented but financially limited or underprivileged Nepali students. The Academy has delivered numerous musical and theatre-dance productions, art exhibitions, shows and various art programs, all aimed at promotion of the arts in Nepal, as well as giving a platform to young, talented Nepali artists to flourish further.

 

Cast & Credits

Kumari Kripa Bajracharya
Chanda Kiran Shrestha
Svet-Bhairav Sudan Munikar
Svet-Kali Vijaya Karki
Representation of Kumari’s feelings Arpana Lama, Glory Thapa, Sunita Darnal
Representation of Chanda’s feelings Srijan Bhattarai, Jerox Chaudhari, Nikesh Raj Chaudhary

 

Charya Dance Choreographer Sudan Munikar, Kripa Bajracharya
Musicians Chandra Man Shrestha (Drums, Percussion and effects),
  Prabesh Maharjan (Percussion and effects),
  Saroj Shahi (Guitar and effects),
  Rupesh Shakya (Flute, horn and effects)
Original Music and Sound Effects Dimitris Giannopoulos
Recorded Music Various Sources
Narration Kavita Srinivasan
Costume Designer Sammriddhi Mittal, Samita Kapali
Beast Make-up Sunita Darnal, materials from Aesthete Studio
Lights Dinesh Tuladhar
Sound Tuphan Thapa
Smoke/Projection Kanchan Pandey
Black and White Photographs Kiran Chitrakar (Poster), Dominic Sansoni, GTZ,
  A. Proksh, AFP, Ian Trower and others
Publicity Stills Avishesh Raj Maskey, Shilu Jain
Behind the Scenes Photographs Suman Nagarkoti
Production Stills Bijay Tamrakar
Truss Thermacol  Set Binod Pokharel (Stage Mind)
Producer Sushila Arts Academy
Assistant Director /Stage Manager Vijaya Karki

Special Thanks                                    Jagannath Dhaugoda (Djimbe), Brikchya Band (Khen, Dhimey,   Taa, Ghungro), Shree Guru Nitya Baja Khala (Dhime, Taa, Bapucha, Bhusya), Vajra Kala Kunja (Charya music and costume support), Swarnim Maharjan (Flute Melody concept tips), Pawan R. Joshi (Projections)

 

Story                                                   Maheshwor Juju Rajopadhyay
Playwright & Director                                   Kavita Srinivasan

 

Contacts

Director, Sushila Arts Academy

KMC-Ward No. 3 Lohasal,

Maharajgunj, Kathmandu- 044600

M: +977 9803791540

E: kavita.srinivasan@gmail.com

NOR1769
All Plays English Indian Plays

i am not here

Playwright & Director: Deepika Arwind
Group: The Lost Post Initiative, Bangalore
Language: English
Duration: 1 hr 10 mins

 

The Play

i am not here is designed as an 8-step guide in how to censor women’s writing, which plays out in a boxing ring. In parts dark, funny and brutal, the dance-theatre production looks at the subtle, almost-invisible and insidious ways in which women’s writing has often been flicked to the fringes. The two women performers enter the boxing ring, watching and being watched, often at unease with what they must do to ‘show’ you this guide. Their bodies transform: they play men, women and creatures. A frying pan is a metaphor for a chalkboard on which freedom is contested ; a traditional dance class reveals the impossible ways in which women’s bodies are written about, a chick-lit writer reads a review about herself in public … Abundant with movement and haunting music, the play seeks new form, and heightens and complicates the audience and performers.

 

Director’s Note

What is the cost of dissent, of protest in performance? Why is it always important to bear wounds in front of an audience to ‘convince’ them of lived reality? What is the silence after the protest like? Is it broken, like the two actors who piece together broken words at the end of this ‘show’; is there meaning to be made, new language to be formed. i am not here is as much about language and writing as it is about silence. It is as much about protest as it is about its aftermath. This aftermath is embodied by two female performers, because who else will embody it? i am not here continues an experiment I began with my last work No Rest in the Kingdom about gender and performance, and the intersection of the two in the female performer’s body, and its significance as a site of protest.

 

The Director & Playwright

Deepika Arwind is a theatre-maker, playwright and performer based out of Bangalore, India. She works as the Artistic Director of The Lost Post Initiative (TLPI), a theatre and performing arts collective that works with diverse artists, largely around gender and women on stage. She is a scholar of the Internationales Forum at Theatretreffen ’18, and presented her work at The John F Kennedy Centre of Performing Arts ’16 and Ballhaus Naunynstrasse, Berlin ’18. She has won and been nominated for several awards for her work, including The Hindu Playwright Award, the Stückemarkt Prize at Theatretreffen, and the Toto Award. Her current touring works nationally and internationally are No Rest in the Kingdom (produced by Sandbox Collective) and i am not here (supported by Goethe-Institut / Max Mueller Bhavan, Bangalore). Her previous works, among others, include A Brief History of Your Hair (supported by India Foundations for the Arts) and Nobody Sleeps Alone. She is the author of a children’s book Sarayu (published by Le Cosmographe Éditions, France, 2018).

 

The Group

The Lost Post Initiative is a theatre and performing arts collective largely working with themes around gender. Much of the work looks at the female performer’s body as a site of protest and possibility. Works include Nobody Sleeps Alone, a Brief History of Your Hair, No Rest in the Kingdom, i am not here, among others.

 

Cast & Credits

Devised & Performed by Ronita Mookerji & Sharanya Ramprakash
Light Design Pritham Kumar
Light Execution Niranjan Gokhale
Music & Vocals Nikhil Nagaraj, Pallavi MD
Set J Dinesh
Producer Veena Appiah
Assistant Akash Narendran
Dramaturge Theresa Schlesinger
Supported by Goethe-Institut Bangalore , Max Mueller Bhavan

 

Playwright, Design

& Director                              Deepika Arwind

 

Contacts

Director, The Lost Post Initiative

258, 3 Rd Main, BHCS Layout, Uttarahalli

Main Road, Bangalore, Karnataka-560061

M: +91 9845272215

E: veenaappiah@gmail.com