<p>Characters in the play move like pawns. There is an invisible force that seems to be making all of them work according to its whims and fancies, while creating a false feeling within all of them that this is actually their ‘wish’ or even luck!<br /><br />After showing R K Narayan’s ‘Malgudi Daze’ few months ago in Mysore, WeMove Theatre came to the city last week (on Aug 13) to stage Namma Metro at Vanaranga, Rangayana.<br /><br />The atmosphere was replete with characters -- of the city that was going to unleash itself before the audience. Tapes of ‘work in progress’ a board hanging on a rickety push cart created enough anticipation about the play that was going to speak about its dreams that shattered along the way of turning into the crowning glory of nation that prided itself being called IT superpower. Bangalore had lost major part of its sanctity in the rush to get the world its share of technology -- something that was inevitable. <br /><br />Be it the boulevard gone, or the flavour of Malleshwaram before the mega mall came in to redefine its strong cultural identity or even Basavanagudi and sleepy Jayanagar turning into mammoth real estate hotbeds in early 90s, Bangalore paid through its nose to send its sons and daughters to ‘on-site’ locations, essentially the US of A or Europe. <br /><br />The play, as proclaimed by the director does not have a central character or person or even a single and is definitely not about a particular character. It is about a particular story, where Bangalore – which is undergoing metamorphosis way too rapidly -- and its people who are central to it.<br /><br />In his own words, WeMove Theatre's "Namma Metro" is about life in this beautiful city that was suspended in transition. The play opens with four Bangaloreans meeting quite by chance, and end up sharing their thoughts on politics, society, religion, economics and their lives. A Muslim peanut seller who lost his wife and son under the collapsed bridge built for Namma Metro, a leftist who saw his dreams evaporate, a software engineer who wanted to be a sculptor; but had to yield to her mother’s diktats to work in a software company earning mega bucks, and a completely superstitious henpecked bank employee who cannot come to terms with his daughter’s dreams of becoming a model. For him, Kanakalakshmi Yandenahalli becoming ‘Catty’ is quite a jolt enough, but bigger one comes when she asks Rs 15,000 to get her modelling portfolio done.</p>.<p> “WHY? Why would you need that kind of money to take pictures?” he asks her all aghast. Later, he also regrets his inability to provide for her when she leaves home, chasing her dreams. <br /><br />With characters taking turns to tell their stories, and minimum use of props, the play did convey its message. That, we the rats, have been losing the race we are running.<br /><br />With money ruling the roost and defining the premise of all relationships, Namma Metro is surely a beautiful and straightforward take on the city of gardens, which is now a city of only small dens and wholesome pollution filling the lungs. <br /><br />On stage were Sri Harsha Grama, Rangaraj Bhatracharya, Nagashree D M, Hanu Ramsanjeev, Madhuvanthi G, Anup Shenoy, Srikanth Bhatracharya and Ranjan Sidappa.<br /><br /> Abhishek Narain’s scored great tunes, coupled with SriHarsha Grama and Abhijit Mahesh’s lines. The play is written and directed by Abhishek Iyengar.<br /><br />Drawbacks were mostly technical, with some actors losing out on energy, timing and also sense of direction with lights playing the spoil sport. Failing microphones too contributed their bit. These small aspects apart, it was a play that sure packed all the punch.</p>
<p>Characters in the play move like pawns. There is an invisible force that seems to be making all of them work according to its whims and fancies, while creating a false feeling within all of them that this is actually their ‘wish’ or even luck!<br /><br />After showing R K Narayan’s ‘Malgudi Daze’ few months ago in Mysore, WeMove Theatre came to the city last week (on Aug 13) to stage Namma Metro at Vanaranga, Rangayana.<br /><br />The atmosphere was replete with characters -- of the city that was going to unleash itself before the audience. Tapes of ‘work in progress’ a board hanging on a rickety push cart created enough anticipation about the play that was going to speak about its dreams that shattered along the way of turning into the crowning glory of nation that prided itself being called IT superpower. Bangalore had lost major part of its sanctity in the rush to get the world its share of technology -- something that was inevitable. <br /><br />Be it the boulevard gone, or the flavour of Malleshwaram before the mega mall came in to redefine its strong cultural identity or even Basavanagudi and sleepy Jayanagar turning into mammoth real estate hotbeds in early 90s, Bangalore paid through its nose to send its sons and daughters to ‘on-site’ locations, essentially the US of A or Europe. <br /><br />The play, as proclaimed by the director does not have a central character or person or even a single and is definitely not about a particular character. It is about a particular story, where Bangalore – which is undergoing metamorphosis way too rapidly -- and its people who are central to it.<br /><br />In his own words, WeMove Theatre's "Namma Metro" is about life in this beautiful city that was suspended in transition. The play opens with four Bangaloreans meeting quite by chance, and end up sharing their thoughts on politics, society, religion, economics and their lives. A Muslim peanut seller who lost his wife and son under the collapsed bridge built for Namma Metro, a leftist who saw his dreams evaporate, a software engineer who wanted to be a sculptor; but had to yield to her mother’s diktats to work in a software company earning mega bucks, and a completely superstitious henpecked bank employee who cannot come to terms with his daughter’s dreams of becoming a model. For him, Kanakalakshmi Yandenahalli becoming ‘Catty’ is quite a jolt enough, but bigger one comes when she asks Rs 15,000 to get her modelling portfolio done.</p>.<p> “WHY? Why would you need that kind of money to take pictures?” he asks her all aghast. Later, he also regrets his inability to provide for her when she leaves home, chasing her dreams. <br /><br />With characters taking turns to tell their stories, and minimum use of props, the play did convey its message. That, we the rats, have been losing the race we are running.<br /><br />With money ruling the roost and defining the premise of all relationships, Namma Metro is surely a beautiful and straightforward take on the city of gardens, which is now a city of only small dens and wholesome pollution filling the lungs. <br /><br />On stage were Sri Harsha Grama, Rangaraj Bhatracharya, Nagashree D M, Hanu Ramsanjeev, Madhuvanthi G, Anup Shenoy, Srikanth Bhatracharya and Ranjan Sidappa.<br /><br /> Abhishek Narain’s scored great tunes, coupled with SriHarsha Grama and Abhijit Mahesh’s lines. The play is written and directed by Abhishek Iyengar.<br /><br />Drawbacks were mostly technical, with some actors losing out on energy, timing and also sense of direction with lights playing the spoil sport. Failing microphones too contributed their bit. These small aspects apart, it was a play that sure packed all the punch.</p>
