Shesh Rokkha
Confusion and misunderstanding may be the oldest comedic premises in the book, but even that can hit all the right notes and become great humour when executed properly. And if it’s done by a wordsmith of Rabindranath Tagore’s calibre, it is absolutely side splitting.
It is Natyajan’s 15th production in the country’s theatre scene, and they have had some good productions. Among them is Tagore’s “Sheshrokkha”, which came back to stage on Tuesday at Bangladesh Shilpakala Academy’s Experimental Theatre Hall.
The story revolves around three pairs of young men and women: Kamol, Indu and Khantomoni against Binod, Godai and Chandrakanta. Chandra is already married so he helps his poet friend Binod to get married to a girl; their friend Godai, who is a medical student, at first does not believe in love but falls for Indu mistaking her for Kadombini of wealthy Chowdhury family. Indu thinks Lalit is Godai; Kamol marries Binod only to have things fall apart soon.
Elsewhere, Godai’s father Shibcharan discusses his son’s marriage with old friend Nibaran’s daughter Indu but they do not agree initially as they don’t know each other’s true identity. After some drama, Kamol and Binod reunite; so do Chandra and Khantomoni after a brief separation; then confusion clears between Indu and Godai too they get married as well. To cap it off, actual Lalit agrees to marry actual Kadombini ensuring happy ending.
It’s all about the script and dialogues for this play: Even if it isn’t acted out brilliantly these over the top expressions coupled with clever wordplay would still make people laugh long and hard enough.
The central cast sees a faultless return-to-stage performance by Chitralekha Guha (as Khantomoni), however her fellow female actors daughter Arnila (as Indu) and Putul (as Kamol) are not as consistent; they hit it often but fall flat in some places. The entire male cast hold their own quite well, with Sohan (as Godai) doing particularly good physical comedy and Liton’s vocal tone and comic timing delivering the goods as Chandrakanta. Veteran Tabibul Islam (as Shibcharan) shines through with his body language and incredibly natural display of dialogues.
Mohsina Akhter’s direction checks most boxes on the list, so does art direction by Uttam Guha. The setting is simple yet uncluttered; lighting and use of props also neat; music and choreography where it falters a bit.
Any Rabindranath play could take off to the skies with music and dance but “Shesh Rokkha” missed that trick. Background score is unimaginative and not thorough enough, while the solitary substantial choreography piece at the end is somewhat lazy too. However, elements of romance and comedy are portrayed sincerely overall, making it a play where audience can just lean back and enjoy without feeling overly indulged.
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