& çâÌæÚUæð´ ·¤è ¥ôÚU Îð¹Ùæ ÁæÚUè ÚU¹ð´ ¥ÍæüÌ ¥ÂÙð ÜÿØ ÂÚU ŠØæÙ ÚU¹ð´Ð ãæÚU Ù ×æÙð´, €UØô´ç·¤ ·¤æ× ·¤ÚUÙð âð ¥æÂ·¤ô ©gðàØ ·¤è Âýæç# ãôÌè ãñ ¥õÚU ÁèßÙ ·¤æ ¹æÜèÂÙ ÎêÚU ãôÌæ ãñÐ ÖÜð ãè ÁèßÙ ×ð´ ç·¤ÌÙè Öè ·¤çÆÙæ§ü €UØô´ Ù ¥æ°, çÁ™ææâæ ¥õÚU ©ˆâæã ÕÙæ° ÚU¹ð´Ð ŠØæÙ ÚU¹ð´, ÜÿØ ã×ðàææ ¥æÂ·Ô¤ Âæâ ãôÌð ãñ´ çÁ‹ãð´ ÂæÙð ·Ô¤ çÜ° ÂýØæâ ¥æÂ ·¤Öè Öè àæéM¤ ·¤ÚU â·¤Ìð ãñ´Ð

A WEB OF ILLUSIONS

Shadhona premieres "Mayar Khela"

Karim Waheed
Tagore's “Mayar Khela" (1886), or Web of Illusions, delves into the eternal theme of unrequited love, or the follies of enchantment. Mayakumari/kumar (nymphs and sprites) weave illusions, entangling the minds of men and women. The story follows Amar, who loves Shanta, but is taken aback by Promoda's beauty and charms. Promoda rejects Amar and two other suitors — Kumar and Ashok. Amar returns to Shanta. To make things more complicated, a lovelorn Promoda now seeks Amar. Denouement comes as Shanta's unconditional love triumphs.
Though there is an unmistakable influence of opera, "Mayar Khela" is staged as a dance-drama. However, the poet himself called it a "garland of songs, connected by a thread of drama."
Shadhona premiered its take on this Tagore classic on January 27 at National Theatre Hall, Shilpakala Academy in Dhaka. The production, in an operatic form, featured singers (non-actors) in the lead roles. Dancers created the ambiance, played supporting roles and connected the scenes.
First, the positives: The set, light and costume. Shadhona productions have become synonymous with innovation and experimentation. Kudos to Lubna Marium and Ali Ahmed Mukul (costume and set design). I'll quote an actor friend, "I'm sick and tired of lacklustre sets. This, truly, is remarkable and deserves plaudits.” Separated screens made to look like trees, foliage and suspended vines with apt lights and props did create the required feel of an enchanted forest. Balinese/Thai inspired costumes didn’t clash with typical Rabindrik dhuti and sari.
This is perhaps the first Bangladeshi production to feature aerial dance. What better way to suggest the magical attrib-
utes of Mayakumari/kumar? Dance directors — Amit Chowdhury and Sabbir Ahmed Khan — and dancers — Tahmina Anwar Anika, Arthy Ahmed, Shammy Akhter, Parsa Evana, Courtney Sato, Laveena Amreen Mazhar, Akash Haque Abir, Hanif Hossain and Sharif Nayan — have clearly worked hard and it showed.
Danseuse Arpita Shome in a supporting role was a vision. Whenever she appeared, even though surrounded by other dancers and the lead female character, Arpita owned the stage.
What didn’t quite work: The music. I'm all for contemporising Rabindra Sangeet, but the soul has to be in the right place. Music direction by Nirjher Chowdhury and Rokon Emon lacked just that. The
renditions were at times tedious and uninspiring. Use of heavy beats in a song like "Dekho shokha bhul korey bhalobeshona" was unjustified. Occasional poor sound management failed singer Tanzia Toma during couple of renditions.
Casting singers in the lead roles in a musical play must have seemed logical. However, the singers/amateur/non-actors — Nirjher Chowdhury, Tanzia Toma, Anima Roy, Abhik Deb and Shopnil Shojib — lacked the poise or command needed to engage the audience.
Shadhona's efforts to promote young, aspiring artistes are commendable.
Supervision and support will go a long way in grooming these emerging talents.