Translated into a Rajasthani dialect and portrayed as a folk tale, Erendira is based on Marquez's story of a fourteen-year-old girl who accidentally sets fire to her grandmother’s (dadi-sa) palace of a household and then has to spend the rest of her life as a roving prostitute, raising money to make good the damage, is captivating, scintillating and deeply moving as well. The girl gains in popularity and the grandmother makes money, until, perhaps inevitably, Erendira falls in love with Ulysses (Ullasi), a truck driver and induces him to slay the woman who has forced her into a life of prostitution. A bizarre fairytale plays out, marrying epic tragedy with contemporary culture. It’s remarkable fluidity in the progression of the narrative and the precision with which the actors morph into different characters as well as swap roles, is superlative.
Five actors together representing the grandmother sprawled out in her bathtub, indeed, look much like the huge white whale that Marquez describe her as. Six women play the role of the innocent girl who gives up her body every night to strangers for a price. Five women and a young man play Grandmother, in each of her grotesque avatars. All of them wear pancake make-up, the sort that Kabuki-dancers sport, to give the play overtones of a puppet show. A spectacle that combined elements of fantasy, fairy tale, foot-tapping music (a heady mix of the Colombian carnivalesque and Rajasthani folk beats), lively dancing (Flamenco, Kalaripayattu, folk dances) and plenty of razzle-dazzle. The costumes, the stage décor and the props have a lot of gold in them - to signify opulence, aridity, claustrophobia, riches, money (an obvious spill-over of the image of the Grandmother’s gold vest — the only thing that Erendira takes with her before leaving after the old harridan had been slain). Another interesting touch is in the pairs of trousers, hanging in a row from a clothesline, later joined by a series of deflated balloons in the shape of human bodies. Phenomenal choice of music and choreography made it an evening and a play to remember.
Directed by Amal Allana, this production has a unique and rich blend of rhythms, movement, costumes, masks and performance style that creates links between India and Latin America, a smooth blend of the different cultures. Not having read Marquez (soon to be remedied), I quote… ‘Set against the backdrop of a colourful, exuberant, culturally hybrid world, Erendira draws parallels between the fantastical element of Magical Realism in the Latin American tradition, and the folk tales and myths of Rajasthan, which have the same strange quality and sensuality seen in Marquez's work. Magic Realism is one key device regularly associated in contemporary literature with notions of otherness and post-colonial dislocation, experiences shared by India and Latin America. The vibrant visual effects, choreography and music all contribute to the multiple strands of different cultures and identities woven into the texture of the play.’
