THEATER TALK
The never-ending wait Pics: Md Ilias
Ria Girri
The stage was set minimally... just the essential props, the lighting was focused and the audience was silent. The one-and-a-half hour long “Godot Aaya Kya” was a Hindi adaptation of Samuel Beckett’s classic drama, “Waiting for Godot”, directed by Satyabrata Rout.
Comprising of three acts, the play spoke of nothing — it was a dramatic conceptualization of two men, Vladimir (Satyabrata Rout) and Estragon (Vasudev Venketraman), waiting for ‘Godot’ by a tree on a countryside road. However, once the play progresses in true style of black comedy, one realizes the bitter truths of life. Like Vladimir and Estragon, we are all waiting in our lives; for reasons unknown to us.
The play initially may seem comical, with typical slapstick characters in funny situations. In fact, the first two acts evoked much laughter, thanks to all the humorous dialogues and situations. But, it is in the third act that the entire play comes together and the meaning of it all is deciphered.
Although, it was a Hindi adaptation, the screenplay was crafted so beautifully that the audience forgets that it’s originally a Western script. It never seemed odd that the two characters, who had names like Vladimir and Estragon and who were dressed in Western tramp clothing — hats, boots, jackets, and suspenders and all — were speaking Hindi. Or considering that the play spoke about the universal truth of life, it didn’t really matter.
Apart from the two main protagonists, Lucky (Advesh Jha) played a small but crucial role, depicting that sect of overpowered and under-appreciated humans that hold no voice of their own, but in the end make their presence felt.
Akshya Kr Rastogi as Pozzo, the dominator, who ultimately becomes blind in his wait for Godot, did a good job. The play on the whole was completely worth the time and money. Not only did it entertain, but it also makes one wonder about how our lives are spent waiting someaninglessly.
A scene from Avartan’s rendition of ‘Godo Aya Kya?’
