Set against an undulating backdrop of pre and post independent India (1941-1956), Hridipash by Bratya Basu, accentuates the Athenian tragedy blended in colloquial form and presentation, that supersedes any that I have seen so far. The play meanders us through the Journey of ‘Hridoy’ (Sumit Kumar Roy and later Kaushik Kar) who tries to escape his fate and prophecy of murdering his father and taking his mother to bed. The tragedy is established in a meld of events painted in shades of happiness, confusion, hatred, fear and helplessness – emotions that so well portray the social perplexity today.
Hridipash is fast paced. The visual design with three layers of curtains is brilliant. It staged a magical environment of light and shadow and offered so much more for the director to experiment with.
Studded with choreography (tribal dance forms – specially to mention Prasenjit Bardhan and Tapan Das), action and live music by Subhadeep B Guha and his brilliant musicians, Hridipash though experimental is commendable and exemplary. Kudos to Debasish for twining the craftsmanship such a big and wonderful ensemble.