‘The Earthquake’, directed by Shania Mathew, delves into the essence of human relationships

We’ve all been the re: sitt ing across from a friend, sharing small talk while something heavier lingers unsaid. The Earthquake, an upcoming production, taps into that universal discomfort, inviting us to confront what lies beneath our everyday conversations. The narrative centers on two friends, Mira and Sameer, who meet regularly, share conversations and an apple. Their routine interactions gradually reveal unspoken emotions and the complexities of their bond. Shania Mathew, the director of the play, shares the idea behind the production, how it has evolved since the first time it was staged, the challenges she faced and much more…

Where did the inspiration for The Earthquake come from?

The play is an adaptation of an original piece called Bhumikampa – Das Erdbeben, written by Samragni Dasgupta and Marvin Krause. Samragni and I met during a nine-month German-Indian theatre exchange program with nine artistes from each country. We spent three weeks on a farm in Bengaluru and three weeks in Munich. During that time, Samragni met German actor and theatre artiste Marvin. Their conversations about loneliness and human connection — universal feelings that transcend cultures — inspired the original play

How has the play evolved since its inception?

The Earthquake has gone through three renditions. The first was performed in Munich with the two playwrights acting. In the first Indian rendition, where I was an assistant director, two male characters performed. The second Indian version featured a male and female cast. Now, for the third rendition, which I’m directing, Samragni is performing with Naman Roy. What’s beautiful about the play is its adaptability. Each cast brings new interpretations, making every performance feel fresh and unique.

How did you balance the original narrative with your creative interpretation?

Having been involved in all three renditions — as assistant director, light technician and now director — I’ve always had a vision. But it’s about blending that with the actors’ interpretations. We hold discussions to explore character intentions, ensuring what feels natural for the actors also aligns with the overall vision.

The play seems to explore silence. How do you use it to engage the audience emotionally?

Silence is powerful for building tension. We use different kinds — sadness, anger, vulnerability — to reflect what’s unsaid between characters. I encourage actors to take their time with silences, making the audience feel that uneasiness and depth.

What was the most challenging part of directing the play?

Letting the actors experiment. Every rehearsal brings something new, which prevents performances from becoming mechanical. It’s challenging but rewarding to give them freedom while ensuring we stay inspired.

What’s next for you after this performance?

I’m open to auditions and new opportunities. I’m ready for whatever comes next.

Entry free. February 28, 7 pm. At BIC, Domlur.

Email: alwin@newindianexpress.com

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