It’s the newest play from Anusree Roy, who is something of a theatre darling, and rightly so. Her two previous plays were acclaimed hits: Pyaasa (2007) earned Roy the Dora Mavor Moore Award for best new play and best performance, and Letters to My Grandma (2009) was nominated in the same two categories.

 

Roy writes about the South Asian experience. Roshni, which means hope in Hindi, was inspired by the child beggars at Calcutta’s busy Howrah train station. Roy observed them over time and was profoundly moved by these children who manage to keep hope alive in an existence of grinding poverty.

 

Roshni – seen at the final preview – is the first Roy play to feature more than one actor. She and Byron Abalos portray 12-year-olds Chumki and King Kumar. Chumki is a blind boot polisher, while King Kumar sells tea and peanuts.

 

Each child lives for a single purpose: In Chumki’s case, it is to earn enough rupees to pay for the surgery to restore her vision, lost when she had measles; King Kumar yearns to go to Mumbai and become a Bollywood star.

 

In each case, they know someone, who knows someone, who knows someone who will make the miracle come true. Chumki’s bringer of dreams is the Boss Man, presumably the leader of the child workers. For King Kumar, it is his uncle in Mumbai. Each time they consult with the Boss Man or the uncle, the price keeps going up.

 

Abalos is the braggadocio. King Kumar is, as his name implies, the ruler in his universe. Confidence is his trademark. He knows all the tricks, and his wide-grin enthusiasm is infectious.

 

The relationship between the two is charming. King Kumar looks after Chumki. They are the Triple F Team, best friends forever (despite there being only two Fs). He shepherds her across train tracks and onto platforms. He hides her when the railway police are chasing them.

 

Unfortunately, the usually astute director Thomas Morgan-Jones has interpreted young as loud, and the decibel level of the performances is ear-splitting at times. Nonetheless, these talented actors are absolutely alive in their young characters.

 

A particularly delightful sequence has King Kumar describing to Chumki the films he will make, co-starring alongside Bollywood’s most famous actors. Morgan-Jones has him running all over the stage, miming the action while relating the melodramatic storylines. You can’t help but smile.

 

The problem with the script, however, is repetition. The very situation precludes development because there are only so many things the children can do at a train station. Their actions and conversations are circular. How many times can we see them running and hiding? How many times can we watch them cajoling rupees from patrons?

 

In between the begging and hiding are their private conversations. King Kumar is Chumki’s reality check, warning her that the so-called eye surgeon is a lie. Chumki, on the other hand, is always throwing cold water on King Kumar’s dream by pointing out how unreliable his uncle is. This is the main thrust of their dialogue, and is repeated throughout.

 

Roshni continues until Dec. 11, 2010.

 

This article first appeared HERE. 

Show Details

When:   Previews November 18, opens November 24, runs to December 4
Where: Theatre Passe Muraille
              16 Ryerson Ave (NE of Queen and Bathurst)
              Toronto, Ontario

Performances:
Tuesday-Saturday 7:30pm
Saturday Matinees 2:00pm

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