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All the world’s a stage
Globe-trotting amateur dramatists and their local counterparts bring a high quality brand of English language
theatre to Dhaka audiences, writes Fawaz Khan
photo by Andrew Biraj
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The lights dim, the music starts, and four ‘doo-wop’ girls begin to sing the prologue (and title-song) of the show to appreciative audience members, seated in three rows of wheelchairs. They are visitors from Dhaka’s Centre for the Rehabilitation of the Paralysed, invited to watch the final dress rehearsal on the eve of opening night for Dhaka Stage’s production of Howard Ashman’s Little Shop of Horrors in the American International School of Dhaka’s (AIS/D) auditorium. This is indeed community theatre.
Little Shop of Horrors
Set in a 1960s urban hell, Skid Row, USA, Little Shop of Horrors is an entertaining mix of dark comedy, Greek tragedy and B-movie camp. After the prologue, we are taken into Mushnik’s Skid Row Florist’s, where Mr. Mushnik (played by Robert Mills) grows increasingly frustrated with his failing business and commiserates with shop workers Seymour Krelborn (Matthew McEwen), a sweet, awkward man, and Audrey (Kelly McKay), the object of Seymour’s desire and stuck in an abusive relationship with Orin Scrivello, the sadistic dentist (Mike Hughes). Seymour has an idea to drum up business; a mysterious plant he acquired during the last solar eclipse could be placed in the window to generate interest from passers-by. The idea is an instant success and the plant, Audrey II, appears to be Seymour’s key to fame, fortune and the girl. Big things are in store for him…
What is Dhaka Stage?
Since the late 1960s, Dhaka Stage has given English-speaking (mostly expatriate) residents of the city the opportunity to take part in and enjoy amateur theatre. It describes itself as a diverse group of individuals with varying degrees of (or no) experience and welcomes people interested in any aspect of theatre to participate. ‘About the only thing we have in common is a love for theatre and a desire to have fun,’ reads the show’s programme, and ‘fun’ is an objective echoed by a number of people associated with the production.
Though the description may give the impression that the standard of the productions may be compromised, that notion is proven fallacy to any audience member minutes into a show. With fun comes a great deal of work for this entirely volunteer-based group. ‘We have been rehearsing twice a week [for the last three months], two and a half hours a night, and then every night for the last week,’ explains Director Ben Snowdon, a teacher moonlighting in his third Dhaka Stage production and second as director. One of many participants with impressive credentials, he has a theatre degree and has written his own musical, in addition to past amateur theatre work. In this show, he also provides the voice of Audrey II, the jive-talking, man-eating alien plant, brought to life in a series of exquisite puppets created by Saidul Haque Juise (whose work can be also seen on Sisimpur, the children’s television show) and manoeuvred by Lee Ann Miracle, also a teacher.
The elaborateness of Audrey II and other props such the dentist’s chair (as well as the technical equipment and auditorium facilities) is remarkable for amateur theatre, particularly for productions with little external financial support. The budget sizes are determined by projected ticket sales, which make up most of the funding. For the May 7, 8 and 9 shows, tickets were Tk 500 each. Sponsors advertise on the posters and other printed materials, which the group hopes will cover the printing costs for a particular show. The stage facilities are provided at cost by the primary venues (AIS/D and the International School of Dhaka), a consideration for which Dhaka Stage is grateful, according to Asif Ahmad, business member of the Dhaka Stage Committee. His role is largely concerned with sponsorships and printed materials, including the website he set up and maintains. In his seven years with the group, he has also performed, directed and worked with props and sound.
Varying (and multiple) roles and responsibilities are common for Dhaka Stage’s members. ‘I am doing publicity this time, but I was on stage last time,’ says Debbie Smith, a British expatriate who has been in Dhaka for three years and a part of Dhaka Stage for almost as long. Also a member of the committee, she has been a part of the production team, bringing experience from theatrical efforts in the UK, India and Thailand.
The frequency of Dhaka Stage productions has ranged from one to three per year, in addition to more frequent play readings. Potential directors share their ideas with the executive committee, which determines if the project is viable financially and within reasonable time constraints. Auditions are announced and the director is responsible for casting. The committee provides logistical support.
Exeunt, Stage Left
As is often the case with expatriate communities, Dhaka Stage’s membership can be characterised as highly transient. Many of Dhaka Stage’s members move back home or on to other foreign locales as contracts run their course and diplomatic postings end. Ahmad describes this high-turnover dynamic as ‘a double-edged sword.’ ‘While this brings in a few (or several) enthusiasts every year, we are also sad to see them go. But we know from past experience that others will be coming!’
The composition of the group presented particular difficulty following the May 21, 2004 attack on the British high commissioner in Bangladesh. ‘All British diplomatic personnel were confined to their residences. Since we had a number of British diplomats in the play, we had to postpone the show for three months. Since this was after the summer and a couple of cast members left town, we had to recast their roles and redo their costumes. This was besides the logistics of handling ticket refunds and getting new tickets and posters printed,’ Ahmad explains.
Still, Dhaka Stage continues to actively recruit new members, encouraging enthusiastic thespians to contact them at secretary@dhakastage.com, hoping the only cause for concern during a given project will be whether the electricity will go during the show.
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