The show comes within the framework of the “Qatar Creates” cultural program on the occasion of hosting the World Cup soccer tournament (The New Arab)
The American-Indian director, Mira Nair, took the big dose of romance and joy in her famous movie “Monsoon Wedding” to be a musical play that chose to have its first performance in Qatar, from November 17 to November 27, within the keep framework. of the “Qatar Creates” cultural program on the occasion of the Presentation of the World Cup.
And the large audience that watched the play at Abdel Aziz Nasser Theater in Souq Waqif, most of them watched the movie, which gained wide international fame since its release in 2001, and accordingly the characters of the movie, more than twenty years ago, was recovered by a story that traveled the world, but in the spirit of the play its hero Song, music, dance, humor and love.
The movie “Monsoon Wedding” came in contrast to the Bollywood style, and it is the epic of simple tools in six weeks of work, which a few days before the wedding of the Indian young man (Hemant), who from New Jersey comes, tells , to a young Indian Punjabi woman in the south of Delhi, the capital.
The desired wedding date in Indian culture is the monsoon months, “Monsoon” in southwest India and neighboring regions, which is characterized by very heavy rains, bringing goodness and sometimes violent floods.
Under this rain, it is possible to capture the moment of life in a wedding that will last forever, as everyone wants, while the annual rain promotes and comes. And in the seasons of marriages and monsoon rains, Indian traditions evolved into appropriate costumes that could defy wetness, and colors that harmonized with an atmosphere washed by water, laden with lightning and thunder.
However, Mira Nair has made the Monsoon wedding a field for cultural approaches, between an Indian society meeting an Indian community emigrating to America (the groom and his family) or to Australia, and this includes confrontations, of which the most of which are comic, and some of which are shocking, and with all this, the spontaneous and chaotic camera will convey resident crises. In the local community, there are class differences and social falsification, but without neglecting the family bond, which is surprising and desirable for ‘ An Indian who has been drenched. with a western culture.
These roots, on which the piece is based, are inspired by what they want from the original text. In her mind, she shows a performance on a stage, in which she creates a rich, multi-dimensional scenography in visual and sound harmony on several spaces between the garden, the street and the top floor of the bride’s villa.
A mixture of languages and dialects, in which the English language naturally predominates. The basic idea on which the work is based is this social class in India, as it is in our Arab world. It boasts that it speaks the language of its colonizer, and if it is no longer colonized, then it is the model that signifies modernity, and it fears that any loophole that shakes its position will be exposed. An example of this is of course “Lalit”, the father of the bride, who borrows money from his golfing companion to complete his daughter’s wedding with this man from America.
On the side of this class were the working people and artisans, who appear, as in the film, as Mira Nair strongly desires, true partners in the production of meaning on the diverse land of India.
There is a highly poetic love story between the party planner (Dobby) who gets so lost in his beloved maid (Alice) that he eats velvet flowers in his absence, and he himself mixes innate intelligence with traits of naivety, and what an answer to every question, even he expected that it would not rain on the day of the wedding because the peacocks stopped dancing, and he has no problem with the bad weather and heavy rain.
Love prevails in the path of Mira Nair, that is, in the midst of self-exposure to her pain, which puts the layers of the local society and the cultural conflict with the outside in front of quick humor, she asked her questions and made others ask more of them in the other side of humor: tragedy.
In a theater setting, things went as well as they could without my arms. Everyone walked off the stage and the impact of the performance was immediately noticed and many times people were musically entertained and laughed.
Consequently, the consumption of juice or the absence of a hot level of kissing did not affect the performance, because the theatrical form was mostly song and dance, and fun conversations between two Indian groups in the Diaspora and the interior. And when we present any artistic content around the world (especially the theater), we find copies that may not be identical, taking into account cultural sensitivities, such as showing a foreign play in front of a Hindu audience depicting the massacre of a cartoon includes cow, or even kisses available when shown on Broadway.
All this goes without fanfare, unless it is part of a campaign against Arab traditions, as stated in a report by one of the news agencies (perhaps the producer was profiting from the fuss) who did not see the show, but it is deprived of it all.
As for the audience of the Abdel Aziz Nasser Theater, it is in front of a play that says and shows something else in addition to what the film, which won the “Golden Lion” award at the Venice Film Festival and was nominated for the ” Golden Globe” Award for Best Drama Film and the British Academy Film Awards (BAFTA), this is a captivating hour and a half piece of high-performance choir, solo and group, with Indian strings led by the sitar, and burning rhythms led by the dholak and tabla.
Before and After is a show that “suggests a balance between silence and music and between darkness and joy,” as Mira Nair said in a previous statement, adding that “the story, at its core, is about the love that we want to understand and that we all yearn for.”