Theatre Reviews—

‘Rice Boy’ Becomes Something Of An Educational Experience

By June April

NEW HAVEN — Theatre should have some impact to be meaningful. That does not always mean one likes or enjoys what is presented on stage, and so it was with the current production at Yale Repertory Theatre. Rice Boy is a play with some provocative aspects, but not a play one would go see again or enthusiastically encourage others to see.

Yet Rice Boy is an interesting, cross-cultural, and somewhat autobiographical work by playwright Sunil Kuruvilla. And though it is not what this reviewer would consider outstanding theatre, it certainly provides insights into the world of India through the eyes of a child of that parentage, but born in Canada.

What stands out in this production are some of the actors and the story’s main theme. It is a philosophical message: All things are impermanent and should be celebrated for being so. In other words, enjoy what have while you have it and do not try to hang on to it, whatever “it” is. In this play the symbolic It is a Kolam.

In traditional Indian culture, the wife will create an artistic design on the floor of her home made out of rice flour, on which her husband will walk when he leaves. This is done each morning before the sun rises. It serves as an invitation to divine forces and has spiritual significance.

This is a generational act, taught by the females in the family and is practiced today by Muslim, Hindi and Christian women. Each day the Kolam varies a little, and on holidays color will be added to the powder and special designs incorporated into the pattern.

Rice Boy moves back and forth between scenes in Canada where young Tommy is running away from his distressed, widowed father, to scenes in India where they had gone together to visit his family. It is very paced and for some reason made this reviewer think of Tales of 1000 Nights (or its musical equivalent Scherezade), with little pieces of story, yo-yoing back and forth.

The acting by Yolane Bavan as the loving and somewhat addled Granny is particularly moving. This lady has a real talent that stands out and she also has, according to the bio in the playbill, a very fine voice that will be heard on forthcoming CDs with the award-winning jazz vocal trio Lambert, Hendricks & Bavan.

Playing four different characters, all salesmen, Ajay Naidu distinguishes himself in a wonderful characterization of each of those individuals. Rather like Mathew Broderick, Wayne Kasserman has a very youthful visage. Portraying a young boy is credible for this actor and one feels his pain, awareness and growth as the play unravels.

Colin Lane has been impressive in other productions, such as Beauty Queen of Leenane, which this reviewer was lucky enough to see him in. He has a presence to him and sublimates the Irish accent he excels in. His Mennonite accent is passable and his acting, as the Farmer with the missing son, is one of the more poignant aspects of this production.

The talented and Obie Award-winning Liz Diamond, the resident director, effectively achieves the sensitivity needed for this play. Classifying Rice Boy as an educational experience might best describe this reviewer’s response to this play.

(November 11 is the closing date, and ticket prices range from $10 to $36. The November 6 show is a “pay-what-you-can” opportunity. For further information call the Yale Repertory’s box office at 203/432-1234.  Curtain is Monday through Saturday at 8, with matinees on Wednesday and Saturday at 2. The theatre is at corner of Chapel and York streets.)