Kirtana Kumar reprises her role as Euripede’s Medea on stage almost after twenty years, this weekend in Bengaluru

Very few stories intrigue us more than the ones of mothers killing their children. Whether the motivation is money or spousal revenge – maternal filicides will perhaps always be considered the most vile of all crimes. However, what still gets us glued to our television screens every time there is such news, is the curiosity that stems from the question of ‘what exactly can go so wrong for someone to destroy what she loves the most?’

Greek playwright Euripedes’ tragedy Medea explores this very question. The protagonist, Medea, is a former princess of the kingdom of Colchis and later gets married to Jason. But after Jason leaves her for the princess of Corinth, she finds her position in her homeland threatened. This horror of impending exile and statelessness makes her go on a murdering spree, which ends up with her killing the objects of her utmost affection – her two sons.

The text has found multiple interpretations over the last 2,000 years – be it from a feminist angle or politically. Its latest production, a solo act directed by Rebecca Spurgeon, features Bengaluru-based thespian Kirtana Kumar as Medea. Revered for her contribution to the theatre community in the city, the veteran returns to the role after having essayed it for another production almost two decades ago. As we sit down for a tête-à-tête with the actor, Kirtana Kumar opens up about what we can expect from the play and her thoughts on the buzzling culture of theatre in the city, enveloping us in her signature wit and graceful glory. 

Medea has been interpreted by artistes across the centuries in several ways. How does your production interpret it?
Our production is humanist. A pure expression of what it is to be human and navigate life with the desire for dignity. We chose to reflect the world we witnessed post the pandemic. The immense optics of labour, migration, war and, of course, the search for home.

What do you think makes this play, written in 431 BC, still appealing to the contemporary audience?
It is amazing that Medea has lived on in the hearts and imagination of audiences for 2,500 years. It must be because it introspects on such a fundamentally awful idea — are there sufficient man-made circumstances that could push a person to commit maternal filicide? The law, human reason and sentiment say there is no justification. Yet, despite our virtuous denials, we have no idea how we would react if we are absolutely unseen or unheard and denied land, home, dignity and culture. 

Tell us about your character in the play. What made you say yes to the role?
Medea is a wise woman — a warrior who lives by the warrior’s codes of honour. She challenges the status quo by desiring Jason (her future husband) and doing whatever is necessary to run away with him. However, she is considered a savage stranger in the new land of Corinth, having left her father’s home and lands. And then you also have her passion, which prevents her from being a submissive wife. I just love the poetry of the text, I love the challenge of the role. I couldn’t say no.

Apart from the text, what did you derive influences from to portray the character of Medea?
I looked at images of the marches of migrant labourers during the pandemic. Of women breaking stones in quarries. Of women in places like Chottanikkara who are exorcised. Of refugee camps. But I also listened to the voices of women in the ladies’ compartment of the metro — it’s interesting to see the different methods we use to navigate survival.

Who are some theatre personalities you consider to be your biggest influences?
Without a doubt, the late Reza Abdoh has left the biggest mark on me and my work. Also, Shishir Kurup, who I studied the Suzuki method with at the Los Angeles Theatre Centre. I’m also very grateful to artistes in India I learned from — Ashok Mandana, everyone at Gnatak, Jagdish and Arundhati Raja, Vijay Padaki, B Jayshree, Nongmaithem Khilton, Anmol Mothi and more.

What can we expect from you next?
I am guest-curating a contemporary theatre festival in Delhi, the theme of which is The Power of Vulnerability. It aims to create a platform for people, ideas and forms that represent facets of vulnerability. In February, my book Bangalore Blues will be at the St Joseph’s College Meta Festival and part of a celebration with readings by Arundhati Raja and Jagdish Raja at the Bangalore Club. Also, I play a small role in Mohanlal’s directorial debut Barroz, releasing on March 28.

INR 300. February 2, 7.30 pm; February 3 and 4, 3.30 pm; and 7.30 pm. At Jagriti Theatre, Whitefield.

Email: prattusa@newindianexpress.com
Twitter: @MallikPrattusa

Also read: Bengali play 'Deshe-Bidweshe' set to have its debut show in Bengaluru this weekend