Santosh Kumar and Satish Krishnamurthi talk about their new immersive theatre experience

Was Darth Vader evil or just a tragic product of love, war, and some very questionable choices? Is Wanda Maximoff a villain or just a grieving mother who bent reality to cope with unbearable loss? Was Killmonger evil, or just the consequence of centuries of injustice wrapped in righteous rage? Welcome to the twisted, fascinating world of Villains, the new immersive theatre experience by Tale‘O’Meter, which isn’t just about booing the baddies, but understanding them.

The duo behind Tale‘O’Meter, Santosh and Satish Krishnamurthi talk about theatre

“It all started with the question, what makes someone a villain?” says co-creator of the production, Santosh Kumar. “When we look at someone and just label them as ‘bad’, that’s not the whole truth.”

The duo behind Tale‘O’Meter Santosh and Satish Krishnamurthi, doesn’t shy away from the controversial. “Even Hitler, right?” Santosh says carefully. “He’s considered the biggest villain of the world, rightfully so. But when you read up, you find there were things he did that helped society too. But those are drowned by the horrific stuff. The point is, context matters.”

For Sathish the idea of exploring the antagonist’s psyche has long been compelling. “Most films centre around iconic villain characters, only to elevate the hero,” he explains. “But that portrayal tends to be flat, villains who are evil for the sake of being evil. In reality, it’s not that black and white.” The team behind Villains was driven by a desire to break away from this one-dimensional narrative and explore the many shades of the so-called ‘bad guy’.

Sathish points to literature and mythology as key influences. Books like Asura: Tale of the Vanquished by Anand Neelakantan, which tells the Ramayana from Ravana’s perspective, played a significant role in reshaping his view. “These stories challenge you to see things differently. Yes, villains do bad things, but when you understand their reasons, their context, you begin to see parts of yourself in them,” he says. This deeper exploration allows audiences to see the villain not as a monster, but as a mirror, reflecting the complex and contradictory emotions we all carry.

He also recalls how, as children, they were conditioned to believe that actors playing villains were bad even off-screen. “It’s only when we grow up that we realise it’s just a role, there’s more to every person, and every character,” he adds. This desire to humanise the villain, to probe into what makes someone cross the line, is at the heart of Villains, an experience designed to unsettle and provoke just as much as it entertains.

And that’s exactly what Villains does. The show unfolds in five creatively constructed acts, each digging deeper into the dark and often grey areas of morality. There’s a stand-up section, an immersive blindfolded soundscape, a quiz, poetry, and a dramatic play. Sounds like Villains isn’t here to just entertain, it’s here to question everything we thought we knew about good, evil, and the messy, complicated space in between.

“It’s not just about people doing bad things,” says Santosh, “but also about those who become villains by not doing something like the absent fathers, the bystanders.”

And what exactly is “villainous”? The show’s first act dives into how traits like audacity and manipulation, often associated with villains, are also the same traits heroes use to succeed. “Manipulation is celebrated in the Mahabharata through Krishna,” points out Santosh. “But from the other side, it’s manipulation, right?”

The second act dares to ask: Who is a villain? Citing examples like the invention of gunpowder and dynamite, both unintended consequences of scientific curiosity, the creators blur the lines between intention and outcome.

Of course, this kind of moral gymnastics needs to be handled delicately. “We’re not romanticising villains,” Satish assures. “There won’t be unnecessary glorification. We’re about mindful entertainment, helping people understand the negative better so we can deal with it constructively.”

Tamil cinema fans, rejoice, for the show is packed with references. “Chitti from Enthiran is one,” he reveals. “A machine made for good, but turns destructive. There’s also a nod to Mankatha too.”

When asked if the production could prompt deeper thought in an era shaped by what Noam Chomsky might call the manufacturing of consent, the creators light up. “Absolutely,” says Santosh. “We’re putting out content meant for conscious consumption. These days, people consume just to belong, because a celebrity endorsed it or a meme went viral. We want them to consume in order to grow, to reflect, to question.”

More than a tribute or a trend-driven piece, the play taps into pop culture to ask bigger questions about power, influence, and what it means to live in an age of curated opinions.

Rs 499. On June 7 at 6 pm. At Medai - The Stage, Alwarpet.