Chicago Sun-Times
September 17, 2005
‘Masrayana’ wraps a life in red tape
BY MARY HOULIHAN Staff Reporter
It’s a known fact that the intricate rituals of life in India are vastly different than in Western countries. Here life can often catch you unawares. This is especially true in the small towns that exist far from large cities like Delhi, Bombay and Calcutta. The legal system in these out-of-the-way places works by its own clock and is often mired in bizarre red tape that makes no sense.
A newspaper story about one such legal situation caught the eye of playwright William Kovacsik, who based his play “The Masrayana” on the legal travails of one unlucky man who literally becomes a member of “the living dead.” Kovacsik treats the story as a sort of dark fable; it’s told through a narrator and acted out in nearly two dozen short scenes.
“The Masrayana” is about a gentle and unsuspecting farmer who is declared legally dead and embarks on a 19-year journey to convince the government that he is alive and well. The victim of a scam by his greedy brother, who wants his land, Gopal Masra (Bobby Zaman) travels across India in a quest to prove his case and in doing so meets others facing the same situation.
‘THE MASRAYANA’
RECOMMENDED
When: Through Oct. 23 (_ed. PLEASE NOTE: This review was written prior to the extension date. The show has been extended to October 30, 2005!!_)
Where: Prop Thtr, 3502 N. Elston
Tickets: $25
Call: (773) 539-7838
A co-production of Prop Thtr and Rasaka Theatre, “The Masrayana” is in a world premiere staging as part of the Rhinoceros Theater Festival. Under the direction of Anish Jethmalani, a founding member of Rasaka, it is the company’s debut production. The cast of 13 actors of South Asian descent takes on many roles; the narrative storyline is enhanced by South Asian classical dance and sitar music.
“To be obsessed with justice is most often a losing situation,” laments the narrator (Vijay Gupta), who is also the kind lawyer who takes up Masra’s case. Always the favorite of their father, Masra has incurred the anger of his lazy younger brother Kanall (Sushant Naidu). City and bank officials are bribed, and suddenly Masra is a man without a life.
Told he doesn’t exist by everyone from street vendors to lawyers, Masra and his wife (Anita Chandwaney) wander the land seeking refuge wherever they can. Masra never gives up his quest to set the public record straight; he even runs for public office at one point.
On their journey to recapture their lives, the couple meet a variety of colorful characters all brought to life in vivid detail. Matthew York’s textured sand-colored set and Dan Tamarkin’s saturated lighting help bring a folklike simplicity to the story. Nikhil Trivedi’s atmospheric sitar music, from a platform above the audience, adds exotic polish.
In several vibrant scenes, talented dancers Alka Nayyar and Anita Thawani perform various folk dances that bring the vitality of South Asian culture to full bloom. And costume designer Michelle Tesdall does an exceptional job of outfitting the cast in appropriate attire native to India, especially the women, who glow in brilliantly colored saris.
A nod also must be given to Bamali Das, who stepped in four days before opening night to replace an injured actress. Although she performed with script in hand, she never missed a beat, especially as Darvati Samapur, the woman who would eventually be Masra’s salvation.
“The Masrayana” is a fine first outing by Rasaka Theatre. It fulfills the company’s mission of providing a challenging outlet for South Asian artists. As evidenced by the talent showcased in this production, the future should be bright for this new company as it fills a void in the Chicago theater community.