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"Good
Heavens!" a play written by Harry MacLure and directed by
Russel Stevenage was staged on the 25th of September 2004 at the Museum Theatre, Madras, in aid of less-fortunate Anglo-Indian students. |
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Ricardo
Brass carried a major chunk of the script and did a very good job and
showed much potential. Nicola Jeremiah and Suzanne Stevenage were a
perfect foil for each other and impressed with their sense of confidence
and ease on stage. The audience thoroughly enjoyed the comic act from
David Pacheco and Reuben Quental and some lovely dancing from Neesha
Johnson. There were no flaws, no gaps in the production. What was special
about the evening was that it was an exclusive community effort all
the way. There was a delightful undercurrent of bonding and unconditional
support.
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When "Good Heavens!" rocked the hall a review by Bernie Madraswalla Chuckles. Guffaws. Rib-tickling laughter. This was the reaction as the 3-Act comedy "Good Heavens!" unfolded at the Museum Theatre, Madras, on September 25, 2004. The play, written by Harry MacLure and directed by Russel Stevenage, was a maiden venture by an Anglo-Indian theatre group in Madras. The plot revolves around an upcoming actor who 'dies' and ‘awakes’ to find himself on the path to Heaven, with an Angel from Limbo, waiting to guide him on his journey. In the process, they fall in love. Adding spice and intrigue to the storyline, are two cat burglars (boss and sidekick) who attempt to burgle the actor’s flat, and who subsequently also ‘die’ and reach the mid-way path to Heaven. Thrown into this scenario, are two female characters from Hell, a flautist, a legal Angel, and six school children who ‘die’ in an autorickshaw accident. All the ‘dead’ want to find a way back to earth, which could only be achieved by a series of complicated moves, finally sorted out by the ‘legal Angel’. A happy ending wraps up the play—where the Angel assumes human form and marries the actor. The cat burglars are upgraded to movie directors, fail, and revert to being cat burglars. The school children are returned to earth, unscathed and unharmed. And the two devils—naturally, go back to Hell. In the lead roles, Ricardo Brass as ‘Charley Boy Gomez’, the upcoming actor, and Nicola Jeremiah as ‘Angeline Heavens’, the Angel, gave sterling performances. They displayed a comfort level in their roles, right down to facial expressions and mute acting. Line perfect and flawless diction, added to their acting aplomb. The cat burglar duo played by David Pacheco ‘Number One’, and Reuben Quental ‘Number Thirteen’ gave the play its humorous twist. As boss and sidekick, this pair entertained the audience with their crazy dialogue and antics on stage. Reuben deserves special mention for his portrayal of a mixed-up, half-baked burglar, who does everything—wrong. His facial expressions, body move-ments and line delivery, had the aud-ience in splits of laughter, from Act I. Suzanne Stevenage as ‘Barbwire’ and Neesha Johnson as ‘Hot Kutty’—both representing Devils from Hell, gave adequate performances. Neesha, in her role as a siren out to seduce Charley Boy Gomez, performed a scintillating dance—fluid and graceful. If ‘Number One’ and ‘Number Thirteen’ provided the main comedy scenes in the play, a special corner and mention must be reserved for Damien Collins, who played the ‘Flautist’. Initially introduced on stage by the Angel to prove her powers, the Flautist kept returning—uninvited—oozing his way across the stage, playing his flute. Dressed in heavy striped pyjamas with a clownish look, Damien won the hearts of the audience, and raised laughter at every appearance. His slow, overlapping leg movements when entering and exiting—indeed were rib tickling. The six school kids were delightful to watch. They performed a dance to the tune of "Ibiza", and ranging in ages from 7-10, they gave it their all. The musical interludes by Ricardo Brass singing a parody of "If I were a Rich Man", Neesha Johnson dancing to "Everything I do", and the children dancing and singing to "Ibiza" gave the play a special touch. Russel Stevenage, a seasoned writer, actor, director and theatre person, in his guest appearance as ‘Sorramlatté’ the legal Angel, was as to be expected, ‘a natural’. He provided a flawless finish to the play, with his easy and professional handling of the part. The play was obviously produced on a small budget—props and stage settings were the bare minimum, with the burden of ‘delivery’ lying on the actors. As in any play, the first performance is equivalent to a kind of formal dress rehearsal, where kinks and errors are normally ironed out, ensuring that followup performances are flawless. However, in the case of "Good Heavens!" this was not possible. With only one performance programmed, some small flaws surfaced: With the actors not using microphone facilities, at times the dialogue was indistinct. Costumes (the Angel, in particular) needed more attention, and the sets (the backdrops), worked on a bit. Also, it was observed that a good percentage of the audience comprised of the Anglo-Indian community. Perhaps a mixed audience, and more advertising/publicity would have been more beneficial. All in all—a performance to be applauded. This being his first effort at writing a full-length play, Harry MacLure must be commended for his original plot and knitting together of the characters, making for wholesome family entertainment. As mentioned, Russel Stevenage’s direction showed sparks of professionalism throughout the production. Backstage manage-ment was in the able hands of Amanda Stevenage, Gerard Butcher, Ronilla Long and Marleine Mitchell. While Keith Long and Michael Williams commandeered Lights, and Sound and Music, respectively. This “For the people, of the people, by the people” (read Anglo-Indians) effort was indeed uplifting for other members of the Community. If such productions become an annual affair, "Good Heavens !"—this enterprising Anglo-Indian theatre group in Madras will certainly go far. |
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an excerpt from "Good Heavens!" ACT
II
CHARLEY BOY What’s going to happen to me now, Angeline? I know you know something that you don’t want to share with me. ANGELINE We have to wait, Gomez... CHARLEY BOY
Why, Angeline, why? I
told you that I fully accept I’m dead. I believe that I can’t
go back to Earth. I believe and trust you... You’re an angel... my
angel... (he takes her hand.) Angeline, you’re the only friend I have here. Please, please, let me know my fate... what happens to me next? ANGELINE
(gently extricates her hand from his.) CHARLEY BOY
This waiting is killing me!
How can anything kill me now. I’m already dead. ANGELINE Please be patient, Gomez... CHARLEY BOY
Oh, how I wish I was alive back on Earth. How I really wish I was back home to my life... Angeline, do you realise that I was too young to die? Only twenty-five. Too young. Why did this happen to me? Me? Huh? Huh? ANGELINE
There’s a purpose in everything, Gomez. CHARLEY BOY
Oh, how I wish I was
alive again... back home on Earth... ANGELINE I do understand Charley, but—
Say it again! Please, please, say it again! ANGELINE Say what? CHARLEY BOY That last word. ANGELINE
What last word? CHARLEY BOY You said my name. You said ‘Charley’. ANGELINE Did I? CHARLEY BOY Yes, you did! ANGELINE Gomez. Charley. What difference does it make? CHARLEY BOY Oh yes, it makes a difference. A big difference. You were calling me Gomez right from the time I woke up to this journey. Gomez is impersonal, see? When a girl switches over from surname to first name, then its... its... ANGELINE It’s what? CHARLEY BOY It’s personal. ANGELINE Personal? CHARLEY BOY It could also mean... well, love. ANGELINE Love? How could ‘Gomez’ to ‘Charley’ become love? CHARLEY BOY Let’s wait and watch. My theories are invariably correct. ANGELINE I’ve lost you, Charley. I don’t know what you’re talking about. CHARLEY BOY Do angels fall in love, Angeline? ANGELINE I don’t think so... hmm, I don’t know. CHARLEY BOY What happens when an angel falls in love with her ward? ANGELINE It’s never happened before. Not that I know of. No, I haven’t come across a published case in the Angel Academy’s library. CHARLEY BOY Ok, let me put it this way – What happens when a ward falls for his angel? ANGELINE That doesn’t happen, either. CHARLEY BOY Angeline, It’s already happened. ANGELINE What do you mean, Charley? CHARLEY BOY You’re an angel, Angeline. You have supernatural powers. I’m sure you would have sensed it by now. ANGELINE Sensed what by now? CHARLEY BOY
Angeline... oh, dear, dear, Angeline — ANGELINE Charley Boy Gomez! Are you trying to get fresh with me? CHARLEY BOY Fresh? Fresh? Far from it! Can’t you see? I’m in love with you, Angeline!
Angeline, Angeline, look at me. I’ve finally worked up enough courage to say it: I Love You!
I’m sorry, Angeline. I’m very, very sorry I made you cry. ANGELINE
It’s a strange feeling Charley. This crying, I mean. I feel... I feel so sad... and happy. It’s a wonderful emotion... CHARLEY BOY You mean, you haven’t ever cried in your life before?! Is this the first time? ANGELINE
Yes, Charley, yes... I’m crying for the first time in my life... I don’t know what started me off... CHARLEY BOY
I think those three magic words that I said did the trick. ANGELINE I love you? CHARLEY BOY
You do? ANGELINE I mean, are those the three magic words? CHARLEY BOY Yes, those three words are supposed to bring out all sorts of emotions in a woman... crying included.
When I said those words to you, I expected an answer... ANGELINE O gentle Romeo, CHARLEY BOY Let’s leave Romeo and Juliet out of this, Angeline. And let’s get on with our lives. Angeline and Charley Boy. Can they live happily ever after? ANGELINE Charley, you have to know the truth. An angel is not supposed to fall in love with a human soul in transit. CHARLEY BOY That means you don’t love me...? ANGELINE I didn’t say that. I have to report this matter to them — CHARLEY BOY Them? Who are ‘them’? ANGELINE My higher-ups. I have to inform them about this new development and my feelings for you. CHARLEY BOY Oh, why do you have to go by the book? Can’t you be little experimental once in a way? Is falling in love such a crime? ANGELINE Falling in love is not, but staying in love is. It’s not allowed. I have to erase my feelings for you, Charley. CHARLEY BOY Oh, no! Please don’t do that, Angeline. Please... I beg you not to — ANGELINE
Charley, I’m getting some information...
Oh, no! Oh, no! CHARLEY BOY What is it, Angeline? What’s happening? Please tell me... ANGELINE Six children... Oh, no... six school children... CHARLEY BOY Six children? What’s wrong with them — ANGELINE They’ve met with a terrible accident while going to school in an autorickshaw... CHARLEY BOY Oh, no! Are ...are they going to be all right? ANGELINE They’re dead, Charley. They are all dead... Oh, the poor things... I have to go now. I’m needed. The six souls would be arriving any moment now...
CHARLEY BOY I’ll come with you, Angeline. I can be of help — ANGELINE This is a job for an angel. You wait here.
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