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REVIEW: Chasing Hares (2022) 📍Young Vic Theatre ⭐️⭐️⭐️⭐️

Directed by: Milli Bhatia
Written by: Sonali Bhattacharyya

Photo credit: Isha Shah, 2022 – Zainab Hasan as Kajol in Chasing Hares

“I’m not political. Not at all. Never have been. I’m a company man.”

Set mainly in Kolkata (West Bengal) in the 2000s, Prab (Irfan Shamji) is a machine worked at a clothes factory – The Khub Bhalo factory – but due to economical factors, the workers are given less and infrequent hours. His wife Kajol (Zainab Hasan) feeds the poor, but even then they struggle in their home with daughter Amba.

What was striking about this was the introduction of the Bengali folk theatre, called “jatra”, which was a crucial part in Prab’s fortune taking an upward trajectory – with an lucrative offer to write a play for factory owner Devesh’s (Scott Karim) partner Chellam (Ayesha Darker). However, with that comes its own challenges as Prab is given the opportunity to better his own fortune, but also a phone call happens to put him in a position where he would be able to better the rights of the fellow workers. There is a scene or two where the action comes back to the UK, but I felt that this could have been expanded on. Though in hindsight, the startling ending proved why we were given minimal exposure to the times of “Eat Right Now” and the nefarious gig economy. It was all polished, and well-executed which additionally made it flow easily.

It’s a really interesting story, as it examines the power of storytelling ( a play within a play but also Prab’s stories to his daughter) and therefore this worked to make the piece flow seamlessly. The acting performances from all five cast members are to be commended; Irfan Sham’s Prab was really convincing in depicting the father, who is doing the utmost for his family; Zainab Hasan’s fiesty Kajol; the devilish (almost pantomime-esque) Devesh that Scott Karim provides makes us with leaves us wanting more of the showman in the beginning scene where audience participation was gradually building; and finally, Ayesha Dharker’s movement and dialogue brings a fresh tilt to a character who would easily have been directed to reinforce a stereotype.

The set in this piece was effective (using lights to shine and blind the audience on many an occasion), in its brutalist nature, lending itself to the harsh nature of the workers’ and reflecting the floors on which many of the workers would perhaps spend time sleeping on, or simply looking at. There are some horrific depictions on stage, so the warnings were great to be familiar with should you be coming to visit on a day where you may be feeling delicate, or if you didn’t find out what the story entails. There are moving moments on stage, and tears flowed down audiences members during one climactic part.

All in all, this was a sweet story – perhaps one we have already envisaged on stage – but the shocking realities of labour where conditions are truly awful are highlighted. It will stay with you for a long time. I was blown away by the pacing of this important piece in the second act, and the video projections by Awhile Krishnan are what made this an overall soaring production.

Mon – Sat, 7.30pm
Wed – Sat matinee, 2.30pm 

youngvic.org

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