Samuel Beckett's famous play WAITING FOR GODOT has inspired translations and adaptations across the world. Chandan Roy Sanyal's version is meant for children. Given that the play has always been open to all kinds of interpretations, such an experiment is welcome. Besides, Chandan's work has its distinct sensibility, as proved by his earlier direction of Vijay Tendulkar's SAKHARAM BINDER, as well his more recent CHUGGADHAM SYM-PHONEY- an adaptation of Bertolt Brecht's and Kurt Weill's opera- THE RISE AND FALL OF THE CITY OF MAHAGONNY. In this case though, the ambitious undertaking in English and in Hindi is on precarious ground.
It is best to approach this production as a work-in-progress, and as an inspiration from Beckett's original work, and particularly so, if you are informed about it. We adults tend to come with baggage. This was emphasized by a lady who walked out of the opening show at Horniman Circle Garden with her children saying 'this is supposed to be a postmodern, existentialist play.' I can imagine Beckett smiling in his grave.
Apart from the problem of received interpretations, the question here is also about a directorial choice. Chandan wants to experiment with the play in two stages; the first which has adults play children in Act I (which is TWO BLIND MICE) and then follow it up with another production which will have Act II and the actors playing grown-up men (presumably following the same children in the audience who would have grown older too). It all seems rather interesting but it's a tall order.
Going by the proceedings in TWO BLIND MICE, Chandan appears to have been overwhelmed by the text. At the same time it presents a unique opportunity to him. However, since reaching out to children is a priority, there is the dilemma of action v/s words. As a result, familiar ploys are used to keep the children interested, and the text appears to be merely there because well... it is there. The balancing act is the production's undoing. Inspite of a beginning that has promise, it begins to appear forced and deliberate.
If certain important technicalities like the actors' speech are smoothened out, or if they don't try too hard to be like children, the production might be better. More importantly, Chandan needs to find more unique ways to be entertaining without loosing the essence of the text he has chosen to work with. He and his team need to work towards providing a more wholesome experience, especially if this turns out to be a long term project.
Be it children or adults- we are trained to look out for meaning, or more pertinently, for answers. It's nice to have something like this that shakes up our modes of reception, ranging from textbook knowledge to common wisdom, which is what the play exactly did when it was first performed.
For good purporse therefore, work of this nature must be sampled. Encourage your children to see it and talk about it. They may surprise you after all with their interpretation of a hugely talked about and much debated work of great literature.
Samuel Beckett's famous play WAITING FOR GODOT has inspired translations and adaptations across the world. Chandan Roy Sanyal's version is meant for children. Given that the play has always been open to all kinds of interpretations, such an experiment is welcome. Besides, Chandan's work has its distinct sensibility, as proved by his earlier direction of Vijay Tendulkar's SAKHARAM BINDER, as well his more recent CHUGGADHAM SYM-PHONEY- an adaptation of Bertolt Brecht's and Kurt Weill's opera- THE RISE AND FALL OF THE CITY OF MAHAGONNY. In this case though, the ambitious undertaking in English and in Hindi is on precarious ground.
