A Fine Balance

Rohinton Mistry’s novel A Fine Balance is a complex, six hundred page long saga about events during the 1975-77 State of Emergency in India. Turning it into a coherent, stageable play is a considerable feat and Anosh Irani has managed that; even if the result is a long evening at the theatre. It’s actually pretty clever. Besides the ruthless elimination of minor characters and sub-plots he handles the principal characters’ back stories by dropping in bits of information all through the narrative that allow the audience to fill in details that are otherwise not made explicit. It’s efficient and effective.

So the story is condensed down to Dina (Zorana Sadiq), a widow, trying to get by by starting a garment sub-contracting business. She hires two tailors; Ishvar (Anand Rajaram) and his nephew Om (Ben Yoganathan), and they together with her PG, Maneck (Siddharth Sharma); the student son of an old friend, carry the plot supported by Husein Mdhavji and Sugoth Varughese playing multiple roles. It’s only as the play proceeds that we learn that Dina is Parsi and the tailors are Scheduled Caste/Dalit. Which is pretty important. There are all sorts of nuances of caste and creed at play here.

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What the Festival

What the Festival is Toronto’s annual weekend of clowns, drag and puppets so it’s a bit niche. This year it took place at the relatively new arts hub Youngplace (that disused school at Shaw and Argyle) which is now surprisingly spiffy. I saw two of the four shows offered; Drag Me to the Opera, and Two.2.Mango’s Hansal and Greteel.

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The pitfalls of dramatising a debate

The Surrogate by Mohsin Zaidi, directed by Christopher Manousos opened in the intimate Studio Theatre at Crow’s last night in a production by Here For Now Theatre.  It’s an impassioned piece about the ethics of surrogacy.  So let’s look at surrogacy and what Zaidi is trying to say about it.  It’s the practice of a couple, usually wealthy, usually male, usually gay contracting with a woman, usually poor, usually vulnerable, often immigrant, to carry a baby that is not biologically hers to term.  Surrogacy is legal in forty plus US states but illegal in Canada and, crucial to the play, Louisiana.

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It takes two to mango

Colonial Circus; currently playing at Aki Studio, is a hilarious and intermittently disturbing sideways look at colonialism.  It’s a clown show performed by Two2Mango; Shreya Parashar and Sachin Sharma. So, we have two people of Indian origin in slightly bizarre white-face playing both “native” characters; a priest and his disciple, and representatives of the Raj; a British lady and her manservant.

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Electric Messiah – 2022 edition

This was the seventh time I’ve seen Soundstream’s Electric Messiah.  It’s different every time of course but some things stay, more or less, as features.  The biggest change this year is the shift from the Drake Underground to Crow’s Theatre.  It’s staged as a conventional proscenium arch type show with the audience sitting in tiered rows facing the stage rather than being set up night club style.  There’s no bar in the actual performance space but you can still take a drink to your seat.  The drinks are cheaper than at the Drake too!

Electric Messiah

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Hell is oneself

No Exit 2Last night I attended Soup Can Theatre’s double bill of Barber’s A Hand of Bridge followed by Jean-Paul Sartre’s No Exit; an English translation by Stuart Gilbert, of his 1944 play Huis Clos.  The latter is a piece I’ve seen before and read in both English and French and I would never have imagined it could be presented as it was last night.  It’s a play about three people who find themselves in a room in Hell together.  They will be there for eternity, an eternal triangle I suppose, for they have been especially selected to get on each others’ nerves by continually reminding each character of that aspect of their former lives that they find least admirable.  I have always seen it as an incredibly bleak play as befits one that premiered in Paris in the last months of the German occupation.  I would never have imagined it as a comedy; albeit a dark one, but that’s what director Sarah Thorpe gave us.  Continue reading →