Intense narrative of an abuse

Narrating his morning encounter with Old Delhi, Martin Moran connects his evening performance of The Tricky Part with India, thereby imparting universality to the issue. If one is unaware of what is in store then one is bound to feel emotional after watching the play.

But if informed about the subject then one waits patiently to hear the real incidents.
Having seen Moran’s performance at the India Habitat Centre recently, Metrolife feels it is unjustified to review a play that is based on true incidents of sexual abuse. But given that it has been shared with the public as an ‘art form’, it becomes imperative to comment on the concept.

Directed by Seth Barrish, the performance is based on the book penned by Moran, disclosing his real life incidents. He purposely chooses not to direct the play because “you need an eye and ear that have a theatrical and visual sense,” he tells Metrolife after the show.

The solo narrative begins on a light note with digestible doses of laughter as Moran describes his schooling in a convent school. He engages the audience by asking them to name convent schools where they studied. However, the initial sarcasm on the names of convent schools and their teaching methodologies, gradually turns grey.

Moran takes too long to come to the heart of the story -- the abusive incident between him and Bob, a counsellor whom he met at a Catholic boy’s camp. Older than Moran in age, Bob takes undue advantage of the naive Moran and the child feels scared to share his experience to the world until he becomes an adult and establishes himself as an actor.

Moran works like a drill-man, probing deep into the story. The spotlight on him systematically diminishes until it is only he who is visible on the stage. In a dark auditorium it sends shivers down the spine to hear a tale that is true and feel helpless at being unable to do anything about what has already happened. At the end of the tale when Moran says that his attitude towards young children has become over-affectionate,
the audience is able to relate to him.

The play has been described as ‘Moran having a sexual relationship with an older man’ is a farcical since there is hardly any scope of ‘consent’ in Moran’s case. Yet, the writer-performer calibrates the play and allows provoking questions about human experiences and dilemmas, while providing his real-life incidents as a base. Hats off to Moran who is able to do this unlike many others. But to be able to watch such an intense performance for a non-stop 80 minutes, one has to brave oneself beforehand!