Review of "creEper":

A guy and girl and a box. A narrator, a Sutradhar (puppeteer) and a story. Any which way, the one hour performance of creEper at the Rangashankara ( here) is worth a watch. The narrative style is impressive and the message well emphasized, even if it is not new. The play connected with the audience with its familiar theme of loss of soul in an imploding city with what better example for Bangaloreans than that of Bangalore.

The performance by the two protagonists (this is the entire cast, by the way) was intense at moments but overall touching. The play had its moments of 'I know what you mean' and 'let me finish your sentence' with a third of the audience that comprised of a college-going crowd, and therefore involving them. Because, many of the juvenile fears and indulgences of the young (and some of ours) found their way into the script, which was supposed to look like an impromptu one. The 'extemporary' goal well achieved while trying to tell a story all the while agreeing to disagree on how they would tell it.

The first part of this play, which is based on the 'Vikram and Betal' lore, 'generally screws around with the audience' (as also conceded by the Sutradhar at halftime) as the storytellers confuse the audience with their bipolar approach to narration, confide with them their fears and demons and while not convince the audience, set an open platform to put on it whatever they want to achieve in the second half. One of the story tellers is a rationalist while the other is a sentimentalist and very dramatic, just enough to keep the audience interested and sometimes agitated.

The impact of lighting on a low-key (photographically, one that involved less exposure to light) stage performance such as this is lasting. The shadows added the key ingredient of proxy-characters while the two actors played out their moves on the stage.During some moments of musing by the characters in the story-inside-the-story , one could see the third and fourth characters in shadows. The interplay of characters and shadows aided by the lighting kept me interested throughout the play with eyes and ears overwhelmed by the effect. That way, there was a lot to see in the play.

So, at the end of first half, by when the audience know that the story is about memories, loss and separation of two souls (not two people) born in Bangalore, the story unfolds itself into one that gives snapshots of same experience that could have been had by a middle-class couple at different times in Bangalore. First one at the turn of the 80s decade of the last millennium, another that happened at turn of the millennium and the last one 'yesterday', if not 'today'. The experiences are no doubt accompanied by the dreads that lurk around them. With quotidian samples to indicate the timeline, someone who has lived in Bangalore for, say, even 15 years (if attentive, even so much is not required) will relate to the game played out by the two and catch on to the fears that gripped, or still grip, Bangaloreans in their daily life, because 'people are being ripped apart for everything'.

You are reminded in the end that 'where grows a tree, a creEper grows', leading the audience to the moral of the story (Not so sure about the camelback used in the name). The end is supposed to be full of hope, but the audience is left unsure of it, because the 'rational and detached' narrator herself succumbs to the dark forces. At a very basic level this play could be construed as a reality-check, if one agrees that doing so does not take the juice out of it.

By the way: This article was posted using w.blogger (here), a first for me. I am quite pleased with the result, while I am still confused over whether or how I can include labels from my desktop.