![]() Macbeth is concerned about his position, very aware of the prophecies about Banquo. Soon after, Ross and Macduff reflect on what has happened, and Macduff reports that Macbeth has been made king. Malcolm and Donalbain, fearing blame for their father’s death, flee abroad. He discovers the dead king and rouses the castle. Macduff arrives, and has a brief exchange with the Porter. They retire when they hear repeated knocking at the castle gates. She finds herself having to return the daggers he has used to Duncan’s bedroom, and her hands become covered with blood too. He murders Duncan, making it seem that the servants were to blame and describes the scene to his wife. After initial enthusiasm, Macbeth changes his mind, but Lady Macbeth persuades him to carry out the deed. Lady Macbeth, seeing the opportunity, plots with her husband how they might kill Duncan when he arrives. Macbeth writes to his wife telling her of what has happened and the King’s plans. ![]() Macbeth is then greatly impressed when he is greeted by Ross and Angus with the title of Cawdor.ĭuncan greets Macbeth with great praise and proposes to visit him. They predict Macbeth will become Thane of Cawdor, and one day king, and that Banquo will be the father of kings. The witches gather on a heath and meet the generals returning from the war. King Duncan hears a report of how his generals Macbeth and Banquo defeated the Norwegians and the Scottish rebels. ![]() Chehak Manchanda’s portrayal of Baa was a stellar display of embodying a character in their totality, supplemented by Ananya Rajaram’s stunning performance as Chanda.Three witches anticipate a meeting with Macbeth. This was further augmented by the fascinating directorial decisions made by Sanika Bhangaonkar and Rudransh Mukherjee. 18,’ however, is owed to the writers choosing to focus on a smaller narrative instead and allowing the story to speak for itself, sowing seeds for conversations on larger social issues in the minds of the audience. A play about sex workers holds the potential to bite off more than it can chew in trying to convey a didactic message and potentially coming off as preachy and condescending. The narrative traces a kotha (brothel) run by Baa in Mumbai’s red-light district of Kamathipura, exploring the emotions and experiences of the women in response to police raids, abusive clients, and the deprivation that ensues from living in a brothel. Once the play began, this mood and ambience only deepened. The excellent direction of Maanas Kauntia’s comedic timing added to the entire affair’s jarring nature as viewers found themselves heartily laughing through an otherwise intense plot. However, the standout was Kyra Semelhago’s Mary Maloney and her omnipresent anger, a compelling figure looming over the audience - conducting an exceptionally nuanced portrayal of a tired and unappreciated wife, the forced normality of the abuse she suffered created a tangibly oppressive and urgent atmosphere. In the foreground was an excellent cast of thirteen, each playing an instrumental part in the unfolding of the plot. The music served as the perfect accompaniment to the production’s clock-like quality, repetitive and sharp, seamlessly playing into a complex narrative timeline. Charged by the interesting promotion emails and posters inviting the audience to a luscious dinner (albeit mischievously acknowledging that there will be none), the Black Box Theatre had an air of palpable excitement, building the momentum with their original score, created by Ragini Ramanujam, the club’s co-head. As a part of Jashn-e-Jazbaa, The Green Room performed ‘A Lamb to the Slaughter’, based on Roald Dahl’s short story.
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