Director and actor Samar Sarila’s adaptation of Skylight uses the tensions between free market capitalism and pro-labour socialism as a backdrop of a romantic relationship. By Ankita Jain

David Hare’s critically acclaimed play Skylight (1995) has widely been perceived as a political commentary on conflicting ideologies. Debates on gender, capitalism, family and accountability pervade the fabric of conversation between the leading protagonists, highlighting the enmeshed nature of personal and political space.

Propelled by the creative duo of Vidushi Mehra (producer and actor) and Samar Sarila (director and actor), the play saw its second Indian revival at Oddbird Theatre and Foundation.

“It is an attempt to bring the Indian audiences closer to this iconic play. It recreates the aura of the play that straddles private complacency and political ambitions,” said director and actor Samar Sarila. The play was earlier directed by Deepa Dharmadhikari.

Elaborating on its contextual relevance, he stated,“There is a lot of context for a play which transcends borders. These themes are universal: terminal illness, adultery, left wing politics, status, sex, gastronomy, regret and guilt and redemption. It also uses the tensions between free market capitalism and pro-labour socialism as a backdrop to a romantic relationship. This is a topic that has grown and not reduced overtime with its social implications evident even today. That’s relevant in most societies, certainly to India right now.”

Relationships form the crux of the play where the larger themes play out. “In a play that largely relies on body language and unspoken utterances, the lead actors portray the tension with comfortable ease. The play is fast paced. With moments of excruciating silences. A lot of it is as you say is driven by the body. Kyra is cooking throughout act 1 maybe to protect herself from Tom’s jabs. A boxing match. Tom comes and invades her space. She even says it in act 2: ‘smelling the bed, for traces of men...’ Tom is lost, confused, hurt and in desperate need of affection as well,” Samar explained.

Regarding the Tom-Kyra (protagonists) relationship, Samar observed, “I think what strikes me the most is the tensions that build between them and how these arise out of the patriarchy and heterocentricism evidently shaping romantic relationships in our society.”

He further added, “The best monologue of the play is when Vidushi as Kyra delivers the angst of a character who has been living on the margins due to the current social order that denies people from living their full potential. But the most striking part of the play remains its sensory indulgence. The smell of roasted onions and garlic permeates the air as Kyra prepares supper. One can hear the whistle of the tea kettle and see the simmering steam above the boiling spaghetti.”

When the play was last performed in December, the stage was set with a bookshelf, sofa, kitchen and mirror cramped into one space. “The set is the same as we want to portray a real flat. A teacher’s flat. There is a bookshelf because there is a conversation about books. A window because it’s a metaphor to the plays title. A kitchen because Kyra cooks. Alcohol because Tom drinks, he brings whisky. It’s the portrayal of what’s happening in other people’s lives. A reflection of thousands of people in that same position,” said Samar.

He believes, with the use of lighting and sparse music, he will be successful in rendering the play free of external influences and kept the setting to speak for itself. The play largely relies on non-verbal communication and insightful dialogue and requires a nuanced understanding of love and politics. “The play talks about the economic situation of a country, the love affair between two people. The human condition that Shakespeare, Beckett and Hare talk about are relevant. They will always be relevant. Even to an Indian audience. They will understand these themes, because they are universal.”

 Highlighting the intended target audience of the play, he stated, “People who enjoy strong and impactful theatre and enjoy a well- written script that they can relate in some way or another. Also, anyone who enjoys engaging in intellectual debates that form a part of any courtship ritual.”