Play Review: Platform No. 5, An Ambitious Concept by Sabuj Sangskritik Kendra

Theatre Group: Sabuj Shangskritik Kendra, Kolkata (সবুজ সাংস্কৃতিক কেন্দ্র, কলকাতা)
Duration: 1 hour 16 minutes
Writers: Sugata Ghosh, Paromita Ghosh, Ujjwal Kar, Sandeep Saha, Nabamita Ghosh
Directors: Paromita Ghosh, Ruksha Goswami, Amiya Dey, Sandeep Saha and Nabamita Ghosh
Venue: Theatre er Poush Porbo (থিয়েটারের পৌষ পরব), Gandhi Bhawan
Organisers: Ajk-er Projonmo and Race Theatre (আজকের প্রজন্ম ও রেস থিয়েটার)

The first play of Day 2, Platform No. 5 offers a collection of five stories intricately connected by a railway platform, the constant presence of a ticket collector (Hirak Ganguly), a tea vendor(Adrish Basu), and the evocative symbol of an origami boat. The play aims to explore universal themes such as love, greed, jealousy, and regret. However, its episodic narrative, though creative, feels more suited to an audience accustomed to lighter, less complex interpretations of these themes.

A Familiar Setting, Not So Fresh Ideas

The railway platform is used effectively as a metaphorical space where journeys, both physical and emotional, intersect. The first story centred on Labanya and Rupak, captures unspoken emotions and unrequited love, resonating with youthful idealism. The silent expression of vulnerability in story two has provocative symbolism. Even with no dialogue, the roles of male and female passengers played by Paromita Ghosh and Sougata Ghosh were able to touch the hearts of the audience with their expressions. The fantastic use of light and sounds added to the charm to resonate the pain in their story to the audience.

In stories three and four, the use of station names Swapnapur and Badlapur didn’t sound fresh and gave out the story before it unfolded. The ideas of gambling were explored in story three and the story too gambled with audience reactions. Kopaleshwar Chatterjee played by Ujjwal Kar and Gopal played by Amiya Dey dealt with real portrayals of the vices of gambling and painted a real picture of greed.

The fourth story, aptly set in “Badlapur,” meaning the land of revenge, is a gripping exploration of jealousy and betrayal within a family. The narrative unfolds around two sisters who encounter each other on a train years after a bitter fallout. The elder sister, Trisha, played by Dishari Mondal masked and shrouded in mystery, confronts the younger sibling, Ananya, played by Romana Dey, who once betrayed her by stealing her lover and casting her out of their home. The story’s tension is heightened by the excellent use of light and sound, which emphasise the suspense and the sinister undertones of the tale.

The final story of Platform No. 5 delivers a chilling narrative, blending psychological tension with supernatural elements. It revolves around a banker, a mother, played by Sahana Singh

travelling alone late at night on a deserted platform, waiting for a delayed train. As the hours stretch, she becomes consumed by fear and guilt, haunted by the spectre of a loan applicant she had once rejected. The applicant upon rejection had taken her own life by jumping from a train—a fact that torments the banker. The haunting is brought to life with extraordinary sound design, the ghost of the applicant played by Sangeeta Majumdar and lighting effects, creating an atmosphere thick with suspense. The use of shadows, eerie sounds, and flickering lights sends shivers through the audience, making this story a standout moment in the play.

Visual and Technical Flair

Sabuj Shangskritik Kendra excels in crafting a realistic yet engaging stage. The set design by Adrish Kumar Roy incorporates familiar details, like the use of the pale blue colour partition of the train compartments commonly seen, and the Rail Neer water bottle, lending authenticity to the setting. Souvik Modak’s lighting and the sound design by Tamal Mukherjee and Rajesh Debnath’s overall coordination create atmospheric highs, especially in moments of tension. The recurring use of projections to link the stories, including the origami boat motif, showcases creative ambition but sometimes feels repetitive.

Costume use also deserves credit. Symbolism also existed in the choice of clothes for the characters, setting even realistic tones. The chess-themed short of Kopaleshawar and the use of black dresses, and covered faces for characters with sinister undertones show the detailed thought process that they adopted.

Performances: Heartfelt but Uneven

The ensemble cast delivers sincere performances, with standout moments coming from Nabamita Ghosh as Labanya, Subhabrata Acharya as Rupak, Ujjwal Kar as Kopaleshwar and Amiya Dey who played Gopal.

However, other stories rely heavily on archetypal characters and broad emotional cues, limiting the actors’ range. The silent storytelling in the second story is a commendable risk, though its execution lacks the subtlety needed to evoke deeper emotions saved by light and sounds.

A Theatrical Offering for Newer Audiences

Sabuj Shangskritik Kendra, a group with a history of innovative productions, deserves credit for nurturing young talent and exploring contemporary narratives. However, Platform No. 5 seems designed to engage a younger audience, perhaps first-time theatre enthusiasts, rather than seasoned viewers looking for layered storytelling. The episodic format and straightforward themes, while accessible, may lack the depth that makes a lasting impression. But even though, three directors made their debut with Platform 5, at no point did the play or characters seem amateur.

Final Thoughts

While Platform No. 5 is an earnest effort by Sabuj’s emerging directors, it ultimately serves as an introductory experience to the world of theatre. Its relatable themes, simple narratives, and vibrant technical execution make it an enjoyable watch and will leave the audience yearning for greater nuance. The play offers an engaging experience that keeps the audience captivated throughout its hour-long runtime.

Please Note: Theatre er Poush Porbo (থিয়েটারের পৌষ পরব) will continue with two plays daily up to December 22 (Sunday). The show starts at 5:30 in the evening.