Unforgettable learning experience

FOR THEIR annual college play production, The Women's Christian College opted for a lesser known American writer, Morton Wishengrad, with just one play to his credit.

He was a scriptwriter for radio, television, film and stage. His first and only play can be traced back to a script for a radio play, which was reworked as ``Lizzie and the Whiskers'' in 1949. The next year, his request for a fellowship to indulge in creativity and rewrite his play was turned down. He nevertheless went on to complete the third version of this project and the play, ``The Rope Dancers'' opened on Broadway in 1957. Soon after, he went down with a cerebral embolism, his wife walked out on him and, in 1962, he died leaving behind his children and only glimpses of potential.

In many ways, ``The Rope Dancers'' takes after incidents that marked his own life. Margaret Hyland is oppressive, overbearing and quarrelsome and fails to come to terms with her guilt-ridden past. Lizzie Hyland, her daughter, is pale from being kept at home and away from school and friends. In trying to cope with her mother's tempestuous outbursts, she succumbs to an incurable nervous disorder. The sixth finger on her hand is a constant reminder that she is an eternal punishment and evidence of God's wrath.

James Hyland, an aspiring writer who fails to strike it good with publishers is a father who Lizzie meets once in every long while, who nevertheless has given his daughter a sound education and a great deal of love and joy. She alternates rather violently between love and hate for her mother, who works hard to keep her clothed and fed, and a father who fails to reach out to his wife and daughter.

The sixth finger is surgically removed. Margaret unburdens her deep dark secrets: She had once lusted after her husband. Lizzie was the punishment and the constant reminder of it. When Lizzie dies, Margaret cuts loose and decides never to enjoy her husband. There is a suggestion that she finds comfort in bonding with other women.

The play raised interesting points for discussion and the students took them on with a great deal of enthusiasm. The set design covered the entire house of Margaret. A dull grey box set with a break in the rectangle for an exit created the household. The props were functional as were the costumes. A note of appreciation in particular for Margaret's clothes, which were attractive, aesthetically designed and evoked perfectly the character.

However, it disturbed that in the midst of extreme realism, they chose to mime the main and only door of the house and select props. A little more patience in finding appropriate and attractive furniture and props would have gone a long way to strengthen the production. After all, for a 21-strong Sets & Props Committee, with their enthusiasm, energy and efficiency, the sky should have been the limit. The lighting design was sensitive and impressive particularly when you consider the limited number of lights that were at their disposal.

Teena Antia as Margaret and Swetha Jagtiani as Lizzie did very well and were most impressive. The heightened emotional levels, which switched between hysteria, anger and fainting, had to be sustained over long periods of time.

Nazra Zuhyle as James Hyland gave them ample support. Her burly stride and expansive gestures created a larger than real male frame and helped carry off the only male character in the play. They (Susan Chacko as Dr Jacobson must also be mentioned) showed a deep and thorough understanding of the parts they played. The play maintained a steady pace and moved unfalteringly to the end.

The production, however, was not without its glitches, most of them stemming from the deficiencies in the script and the extraordinarily long acting time of three hours. While it challenged the young actors' sustaining powers, the ponderous slow moving text was a burden on the audience. Wishengrad could have made his point using exactly half the script. The long wait in pitch darkness to enable post-surgical bandaging was most unnecessary and unpardonable. The natural speech rhythm of the actors seemed hampered. Every one of them spoke with the same laboured cadence. Inadequate training in the art of throwing their voice could be the reason behind it. The absence of a range in the speech patterns slowed down the play further.

Dr Rajani, who directed the play, has behind him many years of experience in student and college theatre. One is grateful to him for having put the `college play' back in proper perspective. ``The Rope Dancers'' was a totally in-house effort and cost the College next to nothing. From the choice of the script to costumes, lights and make-up, it was all done by the staff and students of the college, and therefore must have been an unforgettable learning experience.

There is temptation to overlook faults in set design and in execution when one learns that every bit of it was put together and painted by a bunch of enthusiastic students with help and guidance from Mr. Francis of the college wood workshop. While there is no excuse for stopping short of the best in details and aesthetics, it is indeed encouraging that a fifty-year old tradition is being revived and new values being infused into theatre on campus.

ELIZABETH ROY

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