Play review/ Sifar

BY NARENDRA KUSNUR 

Sifar/ Hindi play

Director: Sachin Malvi

Writer: Sachin Malvi

Group: Shabd Theatre 

Cast: Yash Ahirrao, Ajay Singh, Sairaj Zajam, Namrata Ghaturle

Rating; ***

The story of Sachin Malvi's Sifar is set in conflict-ridden Syria, as different characters look for means to continue their lives. Some want to stay behind, others want to move to peaceful regions, greener pastures. 

Though the incidents refer to a particular region, the subject is relevant universally. War is something that affects everyone, irrespective of nationality, colour and religion. Yet, there are stories of hope and resilience, and that's what Malvi focuses on in Sifar. The story thus talks of reconstruction and its challenges. The title means 'zero' and is symbolic of things starting from scratch.

In terms of concept and ideas, Sifar works well. Many of the performers are young, and to get an ensemble cast together is a task. Yet, one feels the play could have been shorter, maybe by 15 minutes off the two-hour span. 

There are parallel stories running together. There's a football-loving boy Muhavia, about 12 or 13, who wants to study. A teacher Sarfaraz is in a dilemma because his pregnant wife wants to leave the country so that their offspring leads a good life. Because of the unrest, a famous violinist struggles to write new music.

There's also Khalid, whose grandfather runs a local cafe which he doesn't want to shut down. He wants to go abroad for higher studies but circumstances force him to stay back. A refugee girl Ambra comes disguised as a male waiter Ahmed, and there's a twist in the tale. Alongside all this, troops march in and out of the stage.

Hailing from Chhindwara in Madhya Pradesh, Malvi has directed 12 plays and written four. He's got a strong narrative sense, adding doses of humour to a grim subject, and maintaining a measured balance. He's got good work from his cast, led by Yash Ahirrao as Muhavia, Ajay Singh as Sarfaraz, Sairaj Zajam as Khalid and Namrata Ghaturle as Ambra.

One area that needs touching up in future runs is the balance between background music and dialogues. Especially in scenes involving younger actors, voices get drowned out. While that can be worked upon, there's a honesty in the treatment of the subject and its execution. These are stories that need to be told.