When the margins take centre stage

The swirling red skirts, towering headgear, and blood-curdling cries of Theyyam performers do more than just dazzle — they embody a power shift. In this 800-year-old ritual art from Kerala, it is the so-called “untouchables” who become gods, if only for a few hours. This temporary inversion of caste hierarchies is not just performance. It’s resistance. And also the heartbeat of The Guests of God, a new play by Chennai-based group Ekatha, written and directed by KP Rajeev.

Set against the backdrop of 18th-century Kerala, the plot of the play is triggered by the theft of the local queen’s diamonds. This theft sends the village, already reeling from poverty, into further disarray.

Despite the passage of time, caste and class-based atrocities still persist, often in subtler forms. Rajeev highlights, “The concept of caste and class is instilled in us from childhood, whether consciously or unconsciously. Today, many people don’t actively support caste divisions, but they still manifest in ways we don’t always recognise.” This idea is reflected in the play, where interactions between characters serve as a powerful reminder of the inequalities that linger beneath the surface.

The actors, too, wrestle with these themes as they bring their roles to life. Bijoy Paulose, playing the role of Usman, a soldier caught between loyalty and survival, reflects on the difficult scenes. “The confrontation scene was the most difficult and made me very nervous. There is a lot of action, and it needed to be well-coordinated, especially with a play of knives involved too. Also, how each person finds their own way to try and make some money—and the tinge of humour, where the underlying environment is otherwise one of desperation,” he says.

In the midst of the high-stakes drama, Usman’s character also displays moments of vulnerability. The actor explains, “The gentle part of the tough soldier is when his compassion comes through to the priest whom he barely knows.”

“I think the audience will be able to relate to the character,” says the actor about Usman. “He’s an upright, righteous soldier whose loyalty and principles are tested by the king’s lack of any consideration for a populace struck by poverty and lack of any livelihood. The audience will empathise with his internal struggle, too.”

While The Guests of God may not be directly inspired by specific real-life incidents, Rajeev draws significant influence from the life and worldview of writer Vaikom Muhammad Basheer. Known for his immense compassion and non-judgmental love, Vaikom’s legacy serves as a guiding force for Rajeev.

“Vaikom treated everyone equally—whether you were a prime minister, a beggar, or a convict,” he shares. One story that particularly resonated with him involves a young man, released on bail after being convicted for murder, who had nowhere to go. When he turned up at Vaikom’s house, Vaikom’s first question was simply, “Have you eaten?” This profound compassion, regardless of the man’s past, deeply influenced the portrayal of characters in The Guests of God, particularly in how the play examines the human condition beyond societal labels and class distinctions.

By combining the raw energy of Theyyam with the emotional depth of its characters, The Guests of God offers an exploration of identity, compassion, and resistance in the face of relentless injustice.

From Rs 200 onwards. On May 3. At 6.30 pm. At Museum Theatre, Egmore.