Sydney theatre company Prekshaa Art and Culture recently presented Mask & Muses, a theatre festival held over a weekend.
A remarkable celebration of artistic unity, the event – helmed by Rushi Dave, Bobby Mallick and Rima Sen – brought together four compelling plays in multiple languages, showcasing the power of storytelling across cultures.
With a dedicated ensemble of over sixty cast and crew, it stood as a testament to collaboration, creativity, and the rich diversity of voices on the stage.
The plays were staged to capacity audiences, at Castle Hill’s Pavilion Theatre.
‘Night, Mother
‘Night, Mother, written by Pulitzer Prize winner Marsha Norman left the audience shellshocked yet again at this intimate staging.
This emotionally charged one-act play, directed efficiently by Sudeep Sauden, saw power-packed performances by Julia Burns as the middle-aged Jessie, and Roslyn Hicks as her elderly mum Thelma.
The tense interplay of their emotional worlds – at odds but deeply intertwined – was set from the word go. Jessie, an introvert, is troubled by a sense of failure, no thanks to a history of epilepsy, a failed marriage, divorce and a criminal son.
The dialogues between them are witty and dark.
Calm and composed, Jessie moves with quiet resolve, methodically planning the only solution she believes will bring an end to her pain.
The duality of stillness and chaos between the two women comes to a head in the final moment, when life changes forever for one beleaguered family.
The contrasting energies of the two women brought a compelling tension: Jessie’s quietly resolute fatalism, and Thelma’s frantic grasping denial, both translated beautifully, sufficiently unsettling the audience, their nuanced performances honouring the script’s emotional complexity.
Recreating this acclaimed Broadway play and film – staged successfully around the world for over forty years – was no ordinary feat. Yet once again, it delivered as intended: a raw, intimate portrait of how mental health affects every corner of family life.
A Mixtape for Maladies
“You could call this a Sri Lankan story,” says Ahilan Karunakaran, the writer and director of A Mixtape for Maladies. “But with conflicts and displacements unfolding across the world, this story transcends borders – its relevance now feels deeply global.”
Music lay at the heart of this bitter-sweet retelling of the Sri Lankan Tamils saga – performed live on stage and echoed through a cassette player and gramophone. Through these songs, Sangeeta, the protagonist, shared both personal and collective histories with her son.
Evergreen numbers like Que Sera Sera, La Bamba and some Tamil songs had many in the audience singing along and tapping to the music.
Each song prompted Sangeeta to recall a moment from her carefree childhood in a joyful, music-filled home. The warmth of her family life, set to Mohammad Rafi and Ilaiyaraaja tunes, wrapped the audience in nostalgic charm.
A giant cast of actors and singers came together seamlessly to tell this tale with compassion and honesty. Rima Sen as Sangeeta and Akash Venkatraman as young Vishwa stood out in memorable performances.
The graceful dance interludes by Dilini Jayathilaka, and the songs of Rajani Nair and Dr Janakan Shanmugaratnam transported one to a by-gone era.
Lighting by Ajayangshu Banerjee added appreciable strength: wonderful to see time fold in on itself, as the play drifted between past and present, tinged with the ache of imagined what-ifs.
Heartwarming also to note the good use of the pyol or the front steps where the family gather, so symbolic of Tamilian households.
Yet the heartbreak was real – not a dry eye in the room as war tore through families, altering lives forever.
There was some comfort though, echoed in Ahilan’s steadfast message: Idu kooda kadandu poogum. This too shall pass.
Dhundh
Director Saba Zaidi Abdi embraced the challenge of adapting Utpal Dutt’s classic Bengali film Megh into a one-hour stage production – and was rewarded with a standing ovation from the Sydney Indian community’s discerning theatre-goers.
Dhundh is a psychological thriller that follows writer Samaresh, who grapples with schizophrenia. Driven by paranoia, Samaresh falsely believes he has murdered his past love Sujatha and leads himself down a spiral of self-doubt.
Akshat Gupta, in a stellar performance as Samaresh, brought out the fear, the guilt and the paranoia in both his body language and dialogue delivery.
Aparoopa Samanth’s restrained performance as his supportive and caring wife Madhuri, gave a stark contrast to the intensity of Joyeetha Ghosh as Sujatha. Sujatha haunts Samaresh just as she herself is caught in a troubled marriage. Joyeetha’s multi-layered portrayal of Sujatha was both honest and compelling.
The authentic setting of the old zamindar household and the music by Sumathi Krishnan, added to the theatrical experience.
Akansha
Can a young lady lead life on own her terms? Playwright Shatadip Som raises this question as he pitches individual aspirations against societal norms and explores the challenges in achieving one’s Akansha (wish).
Debutant director Saurabh Datar has skilfully handled this seemingly simple theme as he examines the multiple dimensions of individualism. Amidst all the light-hearted matrimonial banter, significant questions are posed. The modern woman has acquired additional workloads – does that equate to women’s liberation?
Sarwat Zahra in the title role of Akansha gives an energetic performance; a young lady who just wants to be a home-maker, not an office employee. She is willing to contribute her share to the household but is that enough for the liberated man and his modern mother?
The orthodox sanskari families are willing to accept her – but on their terms, not hers. The message became a bit repetitive towards the end.
Young Aryan as Akansha’s brother and an aspiring journalist had a spark – good comic timing and effortless stage presence. The seasoned cast of Saral Somaiya, Namita Matani, Manasi Gandhi and others lent the right support.
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