“combining vivid metaphors, playful modern language and perfectly defined characters”
‘The Datia Incident’ not only describes a significant event in the vibrant life of Gauhar Jaan, India’s first recording star, but also conjures up a flavour of the life at that time. For all her success as an Indian courtesan, she was born Angelina Yeoward of Jewish Armenian parents and it was her mother who, after divorcing, embraced Islam and took the name Malak Jaan, giving her daughter the name Gauhar. They both trained in music and dance and Gauhar became courtesan for the Maharaja of Darbhanga at the age of fourteen. The play takes place in 1902 when she begins recording for the British Gramophone Company and when the infamous incident occurs. Fred Gaisberg is travelling across the country in search of the sounds of the East and is determined to record this acclaimed singer, also renowned for her ostentatious life-style.
Tarun Jasani’s beautiful writing lures us into this world of contrasts, combining vivid metaphors, playful modern language and perfectly defined characters and creates an elaborate work from a simple story embroidered in the minds of its tellers. He builds up an increasing sense of anticipation and fascination with the vocal fame of Gauhar Jaan which, losing ourselves in the complexities of the tale, we are regularly reminded of by the frustration of Gaisberg. Director, Mukul Ahmed, generates an evocatively composed and unhurried pace, accentuating the lack of urgency in these lives of luxury. Yet it is full of humour and pathos. The set (Sophie Jump) cleverly makes use of the full length of the theatre space as the Maharaja holds court at one end and normal life goes on at the other. The lighting (Paul Micah) artfully recreates the ambiance of the Indian setting and the sound (also Tarun Jasani) perfectly transports one to these faraway places. Traditional dancers bring a further element of opulence to the Maharaja’s court and adds greatly to the audience’s experience.
Sheetal Kapoor gives a powerful performance as Gauhar Jaan, exuding her indomitable self-importance with assertive control. The seemingly simple-minded Maharaja is charmingly played by Harmage Singh Kalirai, his true strength becoming apparent when confronted with a real fight and Devesh Kishore is excellent as his long-suffering servant, Bakshi Saheb, effectuating sympathy in his frustration to help his master and in his own fruitless situation. There is a wonderful portrayal by Jas Steven Singh of three astutely shaped individuals – three aspects of Indian society – who interact with Jordon Kemp’s elegantly enthusiastic Fred Gaisberg in inspired illustrations of the incompatibility of cultures.
‘Gauhar Jaan – The Datia Incident’ is exemplary of a skilfully crafted script which develops a storyline from a simple idea and, through the imagery of its language, the intertwining of dialogue and the bold, balanced, well-acted personalities, successfully brings to life a rich and enlightening piece of theatre.
“The three actors perform with unconditional energy and presence”
A powerful piece of theatre, ‘Mortgage’ has strangely misleading publicity which, consequently, leaves the audience in the odd situation of puzzling out the narrative of a brilliantly acted, directed and technically devised production. It is the centrepiece of ‘The DEvine Comedy Trilogy’ by David Glass, the first part being ‘Boredom’ and the third, ‘Heaven’. Abused and damaged, Stage Manager Mortgage has burned down the last theatre on Earth and is embarking on a painful healing process in an asylum, representing Purgatory. A collaboration between ‘Created a Monster’ and the ‘David Glass Ensemble’, the work combines physical theatre with inspiration from Artaud’s ‘Theatre of Cruelty’ to create a tragi-comedy about the will to overcome hopelessness and the inescapable relationship between destruction and creation. There is an underlying analogy to the struggle of the younger generation, often at the hands of their elders, to feel in control of their own lives and how this can lead to mental health issues, which in turn is managed by adults.
Briony O’Callaghan commands the stage as Mortgage, battling through sessions of therapy and medication, zigzagging from fits of hysteria to lucid memories of the past and trance-like resignation. Her doctors, François Testory and Simon Gleave produce a perfect balance of the unexpected, humour and intimidation. Their contrasting personalities are prominent from the beginning, even in their inextricably linked relationship – one, younger, bolder, more demonstrative and the other, older, more restrained, sharper. The three actors perform with unconditional energy and presence. From vivid movement, slow dance-like scenes, comic routines and cleverly formulated dialogue we are led from Mortgage’s agonising physical distress to her gradual, coherent reconstruction and regaining of hope.
On the technical side (Paul Micah) an interesting selection of music and sound fits beautifully with the contrasting moods of the play, calm moments of respite breaking up the emotional intensity and the lighting is inventive in its dramatic effects on an almost empty set. The intrigue of the costumes, the significance of which is revealed eventually, shows how the details are carefully chosen and designed.
The concept of Mortgage is much clearer after a post-performance chat with the cast (originally advertised as a panel discussion about mental health and loneliness in the younger generation) as they explain the background to the project – the motivation, the concept of the trilogy and the theme of this part, including the derivation of the name, Mortgage. In addition to this, the absence of credits on the programme suggests that it is a work in progress. However, that would be to undersell the inspirational direction of David Glass and the exciting and multi-layered quality of the show, performed with great artistry.
