"All the world's a stage"

Julius and Cleopatra

The Daily Star: Was it difficult to choose the plays?

Annesh Ramklown: No. The plays are from a series of short comedies. The Art of Coarse Acting, by Michael Green. Coarse acting plays were popular in the late 1970s in the UK and they fit the bill for amateur dramatics. The plays cover a variety of genres. I have chosen to do plays in various styles written by the author such as a murder mystery, Shakespeare, World War theatre and Epic Adventure. I chose to do these styles because I am keen to explore and work with the different styles that seek to parody the different genres.

DS: Is there an all embracing thought bringing together the four skits (short plays)?

AR: Slapstick and comic timing are the key ingredients to the Coarse Acting plays. As I said before, the plays are called 'Coarse plays'. This simply means that the plays do not seek to be pretentious, or if they are, the writer pokes fun at those that aspire to pretentiousness in theatre and drama. They are coarse in the sense that the acting is over the top, the set design and construction give the appearance of being shoddy but the acting is earnest and performances are delivered with good intent. However as with all good intentions things will sometimes go wrong and The Dhaka Stage Players walk into theatrical disaster, by forgetting lines, losing props and sets falling down. This is the curse of amateur dramatics. The writer of these plays intended for these plays to be performed by a professional company who played as if they were all amateurs. Dhaka Stage has subverted this idea for we are an amateur dramatic society attempting to perform like professionals, but 'fail' miserably in doing so. This premise makes for good comedy and I have sought to direct the short plays accordingly. The target audience for this show is a largely expatriate one. It works on the assumptions that they are familiar with the types of genre being parodied. However even if the audience has never seen a Shakespearean production, it is still possible to enjoy this immensely dramatic style.

DS: What, in short, are the plots and themes of the plays?

AR: Streuth is a classic whodunit. Someone has murdered Henry D'Arcy. Everyone has a motive. Everyone is a suspect. All is not as it seems. Watch closely as our Super Sleuth Inspector eliminates suspects and effortlessly unmasks the villain.

Stallag 69 is a seminal investigation into the relationship between man and war. Experience young Crawford's pain as he languishes in a tiny cell and endures ruthless, callous methods which his interrogator employs as he tries to break our Crawfie. Will he tell crack and betray his country to reveal where the radar is hidden? Or will he sacrifice the lives of his fellow soldiers for his own?

Julius and Cleopatra is a Roman spectacular complete with hair-raising chariot races and epic battles. Witness the beautiful Cleopatra and experience her exquisite agony as she pines for her one true love. Follow a conspiracy from birth to the bitter end and mourn with Rome at the demise of the great Caesar.

Call him Moby Dick - the scourge of the sea and Ahab's obsession. See the ferocious cannibal's prowess with his mighty harpoon. Come on board the Pequod as honest god-fearing men from Nantucket brave the elements and scurvy in pursuit of the Leviathan.

DS: Are the four plays a combination of rough and tumble, music, laced with subtle cynicism?

AR: I don't know about the cynicism bit, but the plays certainly are rough and tumble. All the plays are essentially pastiches or parodies of well-established genres. The plays delight in making fun of the accepted norms found in these conventional theatrical styles.

DS: Why did you choose the particular plays for this Dhaka Stage effort?

AR: Because they are funny and I wanted to present an evening of comedy.

DS: Who are the performers (Are they a combination of 'old and new' players and singers).

AR: Dhaka Stage is made up of people form all walks of life. Most are expatriates living and working in Dhaka. Some have been involved for over 5 years and for others, this is their first foray into amateur dramatics. All do it for the love of the theatre and are willing to put in late hours of rehearsal and set building.

DS: How did you come into the theatre? What are your experiences with the Dhaka Stage? Have you always been a director or an actor too?

AR: I have always loved the theatre. If I were to get a job as a stagehand in a professional theatre somewhere and my only purpose was to sweep the stage long after everyone had left the theatre, I will die a contented man.

I studied Speech and Drama at University in South Africa. I worked as an actor for a repertory theatre group in Durban and Cape Town. I have also taught English and HIV/AIDS/Safe sex education to young people using drama as the learning medium. I have directed a few professional productions and this is my second attempt at directing in the world of Expatriate Amateur Dramatics. I have done some amateur acting in Ghana. I also directed the end of year pantomime of Jack and the Beanstalk where I worked with both children and adults. Working in amateur dramatics is extremely time consuming, and at times stressful, but I have to say that I enjoy the thrill of putting together an ensemble piece with the help of like minded people who do it purely for love of the theatre.

DS: What about stage props, if any and lighting -- who are the brains behind them?

AR: The lighting design was done by Keith Gann, a drama teacher, at the American International School. Gary Elliot, who presently teaches at the International School Dhaka, gave up his free time and led a committed team in building the sets and props. A number of other volunteers helped saw wood, wield hammers and paint brushes. A few students of the school were also involved as lighting operators, stage hands, etc.