Bursting with the colors, textures and sounds of South and Southeast Asia, ACT’s production of “Ramayana” brings the traditional Hindu epic to vivid onstage life.
The result of a two-year collaborative effort spearheaded by ACT artistic director Kurt Beattie, “Ramayana” incorporates traditional storytelling techniques (such as puppetry, narrative, dance and song) with an overlay of contemporary sensibility.
A revered work of classical Indian literature, “Ramayana” is an epic poem that recounts the adventures of Rama, with a particular emphasis on the stories of Rama and his wife Sita’s exile, the demon Ravana’s abduction of Sita and her subsequent rescue by Rama, assisted by the monkey-faced deity Hanuman.
Villages throughout India perform “Ramlila” (literally, “Rama’s play”) during the fall festival of Dussehra in a series of performances lasting an average of 10 to 12 days and culminating in Diwali, the festival of lights that celebrates Rama’s return from exile.
ACT’s production, co-directed by Beattie and Sheila Daniels, condenses the epic’s high points into a mostly action-packed three hours, including two 15-minute intermissions.
This original adaptation by local writers Yussef El Guindi and Stephanie Timm contains enough imaginative battle sequences and clowning by Haruman (show-stealing Brandon O’Neill) and his monkey cohorts to keep even young children entertained.
Narrative segments convey the oral storytelling tradition of traditional performances but could benefit from some trimming.
The infusion of the human element in this story of demi-gods and -goddesses (Rama is the incarnation of the god Vishnu) adds depth and humor as we witness the sexual politics at the court of King Dasartha (Jim Gall) and his three wives, Rama’s (Rafael Untalan) possessiveness toward Sita (Khanh Doan) or Rama’s hot-headed but loyal half-brother Lakshmana (Tim Gouran) playing devil’s advocate.
Veterans and fresh faces
The versatile cast of 14 combines fresh faces and Seattle stage veterans doubling and tripling in ensemble roles.
Doan displays her versatility in a double turn as both Sita, the incarnation of all things feminine (but, in a contemporary touch, no shrinking violet), and the hunchbacked servant Manthara, whose sly insinuations instigate the events leading to Rama and Sita’s exile.
Anne Allgood plays multiple roles, particularly excelling as the lustful but pitiable Soorpanaka, who urges her brother, the demon Ravana (John Farrage) to wage war against Rama.
Gall manages to elicit laughs and sympathy as he admits to his waning potency as the aging King Dasartha.
Ray Tagavilla is convincing as half-brother Bharata, who nobly attempts to turn down the throne to which Rama is rightfully heir.
But the show’s scene-stealer is Fifth Avenue song-and-dance man O’Neill, turning in an athletic, high-energy performance as antic monkey god Hanuman.
And Akhi Vadari’s sweet child’s voice singing traditional Indian verses at the opening provides audiences a lovely entrée into the world of “Ramayana.”
Puppets designed by Greg Carter and simple stage effects — such as red light on veiling to represent flames (lighting design by Mary Louise Geiger; scenic design by Matthew Smucker) — tie this production back to the folk origins of traditional “Ramlila” performances.
Maureen Whiting’s choreography incorporates folk dances and, to humorous effect, some Bollywood-style numbers. Ensemble member Belle Wolf performs a particularly striking dance as a magical golden deer that entices Sita into the woods.
Brendan Patrick Hogan’s sound design — incorporating both Indian and Balinese music — and colorful costumes and masks by Melanie Burgess help us journey to the mythic time and place of “Ramayana.”
Respectful treatment
Prior to the opening some members of the Hindu community had expressed concern over whether ACT’s treatment would accord the proper respect to this ancient, sacred scripture. ACT assured respect of the Hindu cultures and traditions and, in fact, has scheduled a number of educational events in conjunction with the show.
In the parking lot after the performance, an Indian family expressed their thoughts on the show. They said they had thoroughly enjoyed it and were impressed that ACT had been able to compress the epic into a single performance.
They added that, with the exception of a change in the sequence of events, everything had been covered. And although the production took some liberties with the representation of Hanuman, they thought the character was great.
Their opinion may not be representative of other Hindus who viewed the show. For those of us previously unfamiliar with the Ramayana, exposure to this accessible production can’t help but broaden our horizons.