Essay by Marlon Jiménez Oviedo, Student at Lewis & Clark College/Boom Arts Intern
The artistic success and
high audience engagement of Free Outgoing
by Anupama
Chandrasekhar validated Boom Arts' mission of bringing international theatre
that speaks to and attracts diverse Portland audiences. Brilliantly directed by
LA-based theatre artist Snehal Desai, the piece challenges clear distinctions
between universal vs. local, and private vs. public. The play places the action
in the living room of a three-person household in Chennai, India, but the
themes of accessibility to digital information, adolescent sexuality and
parenthood are issues most societies grapple with.
In this small orange living
room, designed by Stephanie Kerley Schwartz, we witness how societal
norms and personal morals collide as Malini tries to ‘salvage’ the lives she
and her children have so diligently fought for. The non-forgiving society is
represented by the school principal, the neighbors, the media and the crowds of
people that invade Malini’s colony. Their presence and condemnation were palpable
in the Studio Theatre of Lincoln Hall, due in great part to the stellar cast
who made it impossible for the audience not to feel the extenuating pressure
that Malini and Sharan experience throughout the play.
The main role (Malini) was
played by Anna Khaja, whose
performance can only be characterized as a feat. During the performance, Ms.
Khaja carries all the weight of her children and of being a widow in a society
that does not economize on ways to shame her daughters’ sexual
act, while thousands of people continue to download the evidence in the form of
a video. In one of the most striking moments, we see the shadow of Malini
behind orange fabric as she pounds on the door of her daughter’s room, begging
her to come out if she wants to do one thing right in her whole life. The
audience, however, does not ever see her daughter (Deepa).
On the day I saw the performance, post-show guest speaker Priya Kapoor, Associate
Professor of International Studies at Portland State University, discussed
Deepa’s absence onstage as a clear symbol of how the victims of situations like
the one depicted in the play are often the ones without a voice. Deepa does not
get a chance to speak for herself, which is direct commentary on how girls’ and
women’s bodies and sexuality continue to be seen and talked about through
misogynist ideals. Boom Arts’ post-show discussions have become a hallmark of
our productions, and they amplify our impact by offering audiences the chance
to process and meaningfully discuss crucial issues in our society.
As we welcomed audience
members on the third and fourth nights, we had a person come to ask if we still
had tickets available, because a friend had told them that Free Outgoing was a must see. Fortunately, Boom Arts continues to
present theatre that Portlanders should be excited to watch!
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