"Mahabharata" (pronounced Mah-hah-BAH-ruh-tah) is a modern interpretation of the ancient Sanskrit epic poem. This adaptation delves into a heart-wrenching family conflict while delving into profound philosophical and spiritual concepts. These timeless tales, over four thousand years old, hold a foundational place in South Asian culture.
Toronto's Why Not Theatre, a prominent company from the South Asian community, is behind this grand-scale retelling. Their production marks the first major international adaptation of the epic, and it is set to make its UK debut at the Barbican Theatre this autumn, running from October 1st to October 7th. It promises to offer a captivating and culturally significant experience.
Cast member Sakuntala Ramanee speaks to Asian Voice about this modern retelling, her characters and diversity in theatre.
On playing Shakuni and Sanjaya
Sakuntala portrays two distinct characters in this production. In the first part, she plays the character Shakuni. Shakuni's role is intertwined with the royal family, particularly King Dhritarashtra and his wife Gandhari.
Sakuntala dives into her understanding and portrayal of Shakuni and explains that, “Shakuni's character is profoundly intriguing to me due to his tumultuous past. As a child, he witnessed the imprisonment and gradual starvation of his entire family at the hands of Bhishma. Tragically, he was the only one allowed to have the daily ration of rice, a cruel reminder of the family's suffering.
“His father made him promise never to forget their agony, ensuring he carried that pain throughout his life. Shakuni's actions may appear villainous, given his later schemes and strategies to bring down the family.
“However, I don't view him solely as a villain. His actions stem from the deep loyalty and devotion he holds for his family. He remains committed to fulfilling the pledge he made as a child, demonstrating remarkable strength and determination.”
She further adds, “In essence, while Shakuni's actions may seem devious, they are rooted in a deep love for his family and a burning need for justice. This multifaceted portrayal allows me to explore the complexity of his character beyond mere villainy.”
Sanjaya's character, on the other hand, stands in stark contrast to others in the story. In the midst of the impending war, King Dhritarashtra, though perhaps responsible for its escalation, cannot bear to witness the conflict. It's an internal struggle for him and this is where Sanjaya comes into play. Known for his unwavering loyalty in protecting Dhritarashtra throughout the tales, he is chosen by Krishna to be the trusted eyes, a role that carries immense responsibility.
Describing Sanjaya, Sakuntala says, “Sanjaya's duty is to witness the war in its entirety and convey it to the blind King with absolute honesty. This task is not to be taken lightly. As I stand amidst the chaos and behold the unimaginable, I am overwhelmed, for I bear witness to both the divine and the gruesome war”
“The contrast between Shakuni and Sanjaya is like a pendulum, swinging between the extraordinary and the brutal.”
Stepping into a male role as a female-identifying actor
Sakuntala has taken up a fascinating challenge, portraying a male role as a female-identifying actor. Talking about her transition into the characters, she says, “Initially, I found it a bit strange, almost preoccupied with the idea of portraying a man. However, as time passed, the significance of gender started to diminish. It became less about being male or female and more about something else entirely.”
“As I approach my character, Shakuni, I don't think of him as strictly male or female. Instead, I focus on the qualities that define him – his role as a political adviser, his strategic mind, and his ability to steer events. These qualities resonate with me more than any specific gender”, she further added.
Interestingly, many other female actors in the production are also taking on male roles. This choice is driven by the predominantly male nature of the entire story. Additionally, this approach adds depth and intrigue to the production. It indirectly touches upon themes of gender fluidity, adding another layer of complexity.
On audience’s perception of Shakuni
Sakuntala prefers to leave the interpretation of Shakuni to the audience. Rather than labelling a character as evil, brilliant, or vulnerable, she wants to embody her personal understanding of Shakuni and let the audience draw their own conclusions.
She says, “My intention is not to impose a specific perception of Shakuni on the audience. I want each person to form their own interpretation, free from any preconceived notions. It's truly fascinating to hear what different viewers make of it.
“If I were to define Shakuni as the evil plotter against the Pandavas, it would automatically cast the Pandavas as pure heroes and the Kauravas as pure villains.”
The diversity within a united South Asian cast
The company, with “Mahabharata” has undertaken an endeavour that is both courageous and pioneering. They have successfully united individuals, including actors and producers, from across the globe who are part of the South Asian diaspora. It's a unique amalgamation of talents hailing from the UK, Canada, India, Australia, Malaysia, and more, all sharing their South Asian heritage.
Sakuntala says, “This diversity means that among us, there are individuals representing the first, second, and third generations of our respective families, each with our own distinct backgrounds and journeys. Our ancestors paved the way for us, guiding us to different countries, and somehow, we all found our way into the world of performing arts.
“This convergence feels like magic, akin to destiny or fate, depending on your perspective. It's a privilege and a humbling experience to be entrusted with the task of sharing our ancestral Sanskrit poem in this exact moment.
"I feel so fortunate to be on this journey with Why Not Theatre telling the tale of our ancestors.”
Greater representation for the South Asian diaspora
In Sakuntala’s opinion, there is a need to push the envelope even further within the broader theatre industry. There’s a need to strongly advocate for integrated casting, that is individuals from all backgrounds should have the opportunity to play a wide range of roles.
“Historically, particularly in television but also in theatre, there has been a tendency for intercultural pieces to depict characters from diverse backgrounds as outsiders or symbols rather than fully integrated members of society. This approach can leave viewers, especially younger generations, feeling disconnected from their own communities”, she explains.
She also adds that “the government, on an economic level, has not invested in the arts, nor have they recognized its numerous benefits. This has been a trend not only in the past 12 years but in previous administrations as well, and I strongly oppose it.
