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Indian Ink Independent Theatre Director: Rob Croser Odeon Theatre Sun 7 May Until Sat 20 May Director Rob Croser's new production evokes much of the mental allure of the relatively recent Tom Stoppard play it sources... set dually in 1980s Britain and the independence-craving and politically potent India of the 1930s, 'Indian Ink' sets out to depict and reflect upon the final period of scandal-prone British poet Flora Crewe's (Bronwen James) life. She travels to India in 1930 as a form of therapy, and while there interacts with a variety of its inhabitants from the artistic to the politically disposed. Particularly notable among her subjects of relationship is Nirad Das (Makarand Parulkar), an artist with some identity confusion and who attempts to paint Flora's portrait. Over 50 years later Flora's younger sister Nell (Meredith Potts) is shown dealing with Flora's prospective American biographer Eldon Pike (Tom Carney) and, later, meeting Nirad's son Anish (Fahad Farooque) who is searching for the original portrait. Eldon himself later travels to India in search of the picture. As each narrative strand develops and diverges Flora's nature and that of Indian political identity are presented with increasing complexity. As a poet Flora is unsurprisingly pensive, focused on and aware of the surrounding world as much as personal concerns. Her jumbled social situation and health problems inflate these tendencies. This, as well as her wit, intelligence, and experiences with the absurdities of English social life, have brought her into a kind of benevolent, liberal-realism blend where the apparently trivial concerns of morality and proper social conduct are superseded by more abstract issues like identity, expression, and love. As such she encourages and advises Nirad on less inhibition in his expressive activities, particularly those relating to his political and social identity, ideals, and painting. Nirad has a similarly significant influence on Nora's personal expression, teaching her about the importance of 'rasa' (aesthetic essence) and helping refine some of her looser inclinations. Bronwen James and Makarand Parulkar give genuine form and character to Stoppard's wonderful, intellectually enthralling writing. James is remarkable, perfectly weaving Flora's subtle sensibilities into her seemingly frivolous and cynical whole. The potentially difficult sub plots are dealt with quite well, thanks largely to deft, plain stage design. The work is to some extent visually uninspiring though, an unfortunate feature in a play concerned partially with aesthetics and physical sensation. A result of this is that viewers must work their mental eyes a little harder to ascertain much of the theming. But the excellence of everything else makes any expended effort more than worthwhile.  |
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