Saturday evening at theatre group Rafiki Warifiki's new workspace at Chamundeshwari Studios (off Cunningham Road), was a delightful combination of space meeting performance.
Anandsami, theatre and film actor, who has worked with contemporary Tamil theatre group Koothu-P-Pattari for the past seven years, performed two short stories written by writer Sundara Ramasamy and directed by N. Muthuswamy.
The first, Jannal (window), drew from the author's own childhood experiences. As a 14-year-old boy, he had been sick and bedridden in his house in Nagercoil. The story is an unusual one, revolving around characters appearing at his window.
Anandsami's performance conveyed the vulnerability and the eeriness of being alone, while with the sound of a basic tabla and a wooden frame, the story seemed to assume a life of its own.
Seethai Mark Seeyakkaai Thool is the tale of an artiste's uncompromising rendition of Seetha for an advertisement. This simple story revolves around three wonderfully etched characters: the proud artiste Subbiah Achari, his wife Subbamma, and the worldly-wise merchant Panicker.
The actor's performance in these three characters was perhaps the most convincing one seen in a long time. In a seemingly effortless manner, careful gestures and stances to distinguish between the characters, he inhabited each of the roles with ownership and nuance. This comical and poignant performance won the audience over almost immediately.
The space at Chamundeshwari Studios — also called the ‘dream sandwich' by Rafiki members Anish Victor and Sachin Gurjale — lent itself to the performance in a unique way.
Lodged between two buildings of the studio, its wide corridor with ladders, boxes and several other knick-knacks that could actually be used in performances, remind you of an old Bombay mill or industrial warehouse, used by several theatre artistes through the 1980s. The studio is an example of serendipity. Firstly, it means any space with a few modifications can actually be converted into both a rehearsal and a performance space.
Secondly, as more formal theatre spaces open up in the city, places such as ‘dream sandwich' are both complementary to them and a relief from them. What performers can achieve with an intimate audience is something to be seen, even if it is with practically no light set-up and a bare minimal set. It also means that artistes can find spaces, however impossible it might seem. They have to be willing to look enough, and see negotiations through their end.
This space is also where the group rehearses for its on-going productions and weekly Devarattam sessions. It plans to have more performances, readings and workshops here.
