PINKI BULI & AAMI WEDS AAMI : Two Notable Bengali Productions

PINKI BULI & AAMI WEDS AAMI : Two Notable Bengali Productions

In the post-Puja scene on Kolkata stage two worthwhile productions have engaged the viewers of all sorts starting from the casual to the serious. These productions – PINKI BULI by Sayak and AAMI WEDS AAMI by Nat-ranga stand out of the others because of two very important reasons. The viewers are usually fed with contents that either have strong political message conveyed very crudely or are high browed intellectual stuff that do not find many takers in the audience. Very few shows are staged that tell the audience a simple story in a very fascinating way and in the process present a social problem that influences a large section of the society. These two productions have done exactly that. The second reason for them to be remembered for long is their attractive presentations. Not much of extravaganza was created on the stage but an endearing spectacle was presented in the productions. While the Sayak production did have a stage set-up to supplement the story line depicted, the stage for the Nat-ranga production was absolutely bare of any settings. 

Adapted by Indrashis Lahiri from a story by Amar Mitra PINKI BULI is a simple story of two girls coming from two different worlds. While Pinki is a convent going snobbish teenager of an upper class family Buli is a simple village girl full of exuberance and of the same age who is employed by Pinki’s family to look after her little brother. Nothing seems to click between them as the cultural as well as the mental gaps seem almost impossible to be filled. Buli is simply awe-struck at the life she encounters in the upper class environs that enthuse her to emulate Pinki. But in spite of the differences both have dreams of a fantastic world that are of course different. And in a bid to achieve that blissful world of their individual dreams they become friends. At this point of time there comes a grand old man who shows them the ways to achieve the bliss that would open up the paths to their dreams through the mysteries of the universe, the birth of life and the harmony in Nature that is maintained for the life and its dreams to sustain. What fascinated the viewers was the way Meghnad Bhattacharya created the story to happen on the stage. I have commented in some other place that Meghnad had done magic! Yes, indeed it was a thrill to watch him unfold the inner soul of the drama with all its splendour that has deep roots in the essence of Tagore’s philosophy without even once referring to Tagore or in any way remotely quoting the Poet. He has been immensely helped by Swatilekha Sengupta who has done the background scoring which incidentally is one of the finest examples of this department of a production in the recent times. The presence of Tagore was felt by the viewers in the subtle use of Tagore tunes and even in moments of silence.

The two adolescent girls around whom the drama builds up naturally had to bear a humongous work load and with an unflinching guidance of the director both excelled in their efforts. Rimi Saha as Pinki was made to up-scale her dialogue deliveries so as to accentuate the naive character of Buli. This was indeed a remarkable directorial job that Meghnad Bhattacharya had employed like he had in many other instances. Rimi has efficiently portrayed the change of attitude in the character of Pinki. Bhaswati Chakraborty has but stumped the viewers with awe as the work she has done would pose a challenge even to a senior actor. With pieces of songs and dances chipped in she was excellent in the portrayal that would be discussed for a long time to come. Apart from her Dhurjoti De, Runa Mukherjee, Uttam De and others have done their bits as needed. Meghnad acted in the role of the grand old man. In an earlier production he had done such a surrealist character also and certainly needs no comments. Here, a few words of praise are worth due for Panchanan Manna for the make-up job this man has done for the character of the grand old man. This was one rare instance where the stage lights were taken into consideration while planning the make-up art. But the only department that did not do justice to the production was the stage decor by Shoumik-Piyali. Both structurally as well as visually the stage failed to create any impact.  Accolades are but due to Meghnad Bhattacharya for the sheer joy that the viewers enjoyed during the little over two hour show time.      

A very different production was staged by Nat-ranga entitled AAMI WEDS AAMI which stands out both for the content as well as structure. Sohan Bandopadhyay has chosen on a peculiar subject like he had done in his earlier work. He chooses on subjects that are not normally accepted in the so-called elite societies as they are taboo or socially proscribed. He wrote an original play of this name in 2007 based on a story by Charlie Fish entitled ‘The Man Who Married Himself’ which the latter wrote in 2000. Incidentally, two similar occurrences were reported in the press in 2010. In his write-up Sohan mentions that last May in New York Kevin Nadal married himself and this was reported in The Guardian by Sharon Kram who also reports of a similar marriage in 2009 of Jennifer Hosse in Holland. Another marriage was reported from Taipei where Chen Wei-yih married the love of her life – herself. So Sohan’s play of 2007 can be termed futuristic in one sense.

This is a story of a man who marries himself as he thinks that he himself is the best judge of oneself and can never be ditched or betrayed. He is helped in this endeavour by the priest of his church. This ‘conjugal’ life goes on happily for quite a while till the urge to procreate reaches its natural outfall. This story is so remotely related to our normal lives that we find it as a comedy and would not believe in the predicament of the protagonist. But Sohan has delved into the problem deeply and that is evidenced in his work. Such serious stage dissertations of themes like this by young directors speak of a bright future for the Bengali stage.

 Sohan has acted brilliantly in the role of the protagonist. As he had to perform as both the wife and the husband he had a lot of load to carry and he has been undoubtedly successful. His two intonations, his two different pitches of delivery, his two different mannerisms are a very well studied portrayal of two different characters. The other characters, too, were equally well done except the one done by Poulomi Bose who seemed a bit unprepared. Nilabha Chatterjee deserves individual mention as he showed restrain in his portrayal of a role that could easily turn into an overdone comic character. The presentation of the main story was done by Sohan as a sub-play and that brought in a novel touch in the production. Apart from a few blemishes that can be corrected this production can claim that the future of the Bengali stage in the hands of the young generation seem secure.