Theatre as a medium delves into the psyche of characters like no other, it’s a more personalised, direct and effective way to empathise with them. Sutradhar’s adaptation of David Mamet’s two-character play Oleanna , directed by Bhasker Shewalkar makes right use of this facet to ring in a tale relevant for the times. Its verbose quality takes subtle digs on various facets of the education system, academic embellishments defying their purpose while also mirroring the ever-changing dynamics of the student-teacher equation. The universality of David Mamet’s writing strikes you by surprise, the adaptation is largely faithful to the original but for the backdrop.
Oleanna reflects on the equation between a student Vidya and her lecturer on various levels. Vidya is indeed a complex character to deal with, the conversations with her master are a direct reference to the anomalies of our system, how the volume and presentation of academics overpower its intentions. The incredible word-play between Vinay Varma and Supriya couldn’t have been executed better, one of the lines say, “The tests that you encounter in school, in college, in life are designed for idiots by idiots.”
When the master talks of empathising with the student on higher education exposing you to your follies over strengths, relates his past to that of hers and tells her, ‘I like you’, you don’t smell anything fishy. You only see a teacher’s attempt to make her feel comfortable. However, the student’s vulnerability leads you to the darker side of teaching, he compels her to visit his office time and again for an A grade in the subject. Supriya’s reactions are apt here, she mirrors the confusion of a student to such conversations to perfection. The latter half reflects the essence of the play. The book written by the lecturer, the extension/promotion of his tenure and the subsequent construction of a new house are used as metaphors to show his evil side, the power he wishes to attain through his position.
The regular references to his ringtone of Manna Dey’s Jeevan se lambe hain bandhu too may have been a hint at the twists and turns of his life. The play gets more interesting when the student presents him a list of her demands to withdraw her charges against him.
Vidya’s character may not be perfect here, but that’s no excuse to exploit her. And what better take than this to reiterate the ‘No means no’ debate and how the assumption of knowing more than your student is not a license to exploitation.
The play pins issues surrounding government school education, the superiority complex associated with English as a language too- maybe one issue too many to handle on the stage. Oleanna is too particular of not interfering with the original, more creative liberty and lesser emphasis on the academic jargon could have enhanced its scope.
Vinay Varma and Supriya's assertive performances are the brighter spots that liven up the play when necessary.
