The contemporary, media-influenced version of the Bard’s play was a welcome one. A vocal Juliet provided comic relief. The idea of liberated puppets was rejuvenating and funny. Kudos to ‘Stringeri’ who played relevant tunes that enlivened the audience.
The Shakespearean classic was turned into a comedy riot, and had Coimbatore reeling with laughter. The live guitar gave a whole new depth to the act. The clownish ‘Panauti’ and his proposal to Juliet was cute.
The use of ‘desi’ dialogues and references was witty. The news channel debate was brilliant. But the use of Juliet seemed to be an afterthought, and we sensed that the play was another spoof.
Flashes of brilliance
The play had flashes of originality, but I found myself comparing it (unfairly perhaps) to Rajat Kapoor’s Hamlet the Clown Prince. I felt that directorial experience was a tad missing. The talented actors, however, pulled it off.
It was an absolute delight to see an adaptation of Romeo & Juliet with references to DDLJ, Pink Floyd and Facebook. It was a subtle critique of a society dominated by news channels, status updates and ‘pimple removing creams’.
Prize winning entries:
Good in parts
A play that won The Hindu MetroPlus Playwright Award comes with high expectations. It was good in parts, but lacked a taut screenplay and proper scene sequencing. Not all can relate to the references. The leitmotif of the play was freedom: the play used it to be funny yet toyed with the freedom to make mistakes.
Shiva Guru Nagarajan
The play was an absolute riot. Mixing the vernacular with the original, the Bard and the bawdy were entwined in a glorious duet. Great lyrics, brilliant singing by the raconteur, interspersed with a few soul-searching ‘what if’ moments… it had the just the right mix. To me the highlight was the irreverence. The play was a breath of fresh air, reminding us not to take ourselves seriously.
Senthil Kumar. N
Marudhamalai Main Road