Girbani Deka
(girbanideka@gmail.com)
As Arup Baruah frantically scans the living room for a copy of his play, his young granddaughter Tanvi softly croons a classic Jayanta Hazarika number in the adjacent room. She walks in, only to find her Koka (grandfather) oblivious to his favourite song. Gently, Tanvi reminds him of his mindlessness of that special moment, sparking a new one together. “Pam ne moi pam ne tumak?” (Will I ever find you?). What follows is Koka’s teasing inquiry about the ‘tumak’ (you) in the song. Tanvi’s blushing moment in the Baruah household!
Enter Tanvi’s Aita-Ma (grandma), who, in her pursuit of a house rat, is led to the world beyond the window. “What a beautiful day!” Leena Baruah sighs wistfully, yearning for a life beyond the liveliness of her home. She calls her husband to share in the adoration she just experienced. Like little rebels, the two are ready to take the bull by the horns—the bull being their overprotective granddaughter. “But what about Tanvi’s eyes watching our every move?” says Koka, pointing at the CCTV cameras prying into ‘their’ moment. A breach of privacy indeed!
In a post-Covid world haunted by memories of loss, a young woman’s concern for her ageing grandparents drives her to create a safe zone for them, complete with rigid rules, before leaving for a job assignment with her colleague bearing the same name. ‘Tanvi Number 2’ adorably referred to by her Aita-Ma. Having lost her mother to COVID-19, Tanvi goes the extra mile to protect the two people she considers the most precious. For the elderly Baruahs, Tanvi Baruah is the apple of their eyes who ruffle their feathers with her inflexible settings in the very house she stays’rent-free’. A Laxman-Rekha—the strict boundary between hope and longing—is drawn by the worried granddaughter to secure her fear of losing her beloved ones. This line of control not to be crossed before her return, however, envelops a desperate longing on the other side of it to explore the world beyond... on their own. Tanvi acknowledges the harshness of her actions, but her anxiety-driven love—if it can be termed selfish—often outweighs empathy.
Demented with worry, the granddaughter extracts the dreaded promise from the grandparents, who already have a plan to ‘break free’ sans their precious oddball. ‘The Baruahs are under house arrest!’ is the ultimate realization. “This is fascist; she is a Hitler!” an annoyed Aita-Ma grumbles. And so, Adolf Hitler makes an unexpected posthumous guest appearance at Uzanbazar’s Udara from October 4th to 6th, 2024—an October surprise indeed!
A minor tiff between Leena and Tanvi precedes the granddaughter’s departure, with a promise to cook Masor Tenga (a traditional fish curry) upon her return. Hitler and Hope intertwine—hope in anticipation of an evening together, complete with Masor Tenga and Hitler, symbolising her lingering influence. A lighter moment and a trip down memory lane ensue.
Savouring piping hot cups of tea amidst conversations galore, Tanvi’s Koka and Aita-Ma, accepting their fate, revel in life’s simple joys. Within the boundaries set by their beloved granddaughter, a refreshing presence soon enters their lives: Tapan Deka, a young playwright and friend of Tanvi. Asked by Tanvi to check on her grandparents in her absence, the young man’s gentlemanly demeanour immediately impresses Leena and Arup Baruah. A warm conversation about joy, theatre, companionship, and Maas (fish) unfolds between Koka, Aita-Ma, and Tapan, capturing beautifully the essence of relationships navigating the unpredictable future ahead. Tapan leaves, with a promise to visit again in the evening. He pauses by the doorway to adore Tanvi’s portrait, prompting the grandparents to exclaim with happiness, “Time to start preparing the jewellery!” Hope, indeed, keeps everything alive.
Just as the elderly couple muster the courage with determination to break the ‘LoC promise’ with a resolute “Ami Asu” (We’re here), the phone interrupts the rebellion. Panic sets in. Has their granddaughter caught wind of their plans?!
“A bomb blast at Narengi!” … “I am Tanvi’s Aita.” “Where?” … “How many have died?” … “Yes, I am Tanvi’s Koka.” The other end wasn’t as anticipated. A sudden jolt. Hope still remains. With grief, pain, and lament, they ready themselves to search for the ‘Centre of their Universe’. Another call, panic piercing their hearts now. “Is it Tanvi Bora or Tanvi Baruah?” Desperately holding hands, Leena and Arup Baruah cross the Lakshman Rekha set by Tanvi, bridging love’s concern and hope. The Masor Tenga awaits as “Pam ne moi pam ne tumak?” silently rings in time somewhere.
Ami Asu, penned by Dr. Amarjyoti Choudhury, is a poignant exploration of intergenerational conflicts over independence and concern set against the backdrop of a post-Covid world. Brought to life at Udara by the sharp and shrewd directional style of Sattyakee D’com Bhuyan, this October presentation featured the veterans: Dr. Amarjyoti Choudhury as Arup Baruah (Koka) and Dr. Santwana Bordoloi as Leena Baruah (Aita-Ma), alongside debut performances by Shivangi Chakravorty (Stuti) as Tanvi Baruah and Arkupal Ra Acharya as Tapan Deka. The brilliant play written by Dr. Amarjyoti Choudhury subtly explored the questions of agency, dignity, and loss. The interplay of light and shadow in the production added a profound layer to the storytelling, drawing the audience deeper into the world of Ami Asu. Bhuyan’s vision translated into a space where every movement felt purposeful and every pause carried weight. The actors, fully immersed in their roles, displayed an authenticity that made their characters’ struggles and joys resonate on a deeply personal level with the audience. The carefully curated background score by Reeha Bhuyan underscored pivotal moments, subtly amplifying the tension and releasing it with delicate precision. Dhanjit Bora was crafty with the lights and effects. What stood out was Sattyakee D’com Bhuyan’s directional ability to create a seamless connection between the actors and the audience, making the latter feel not just as spectators but as part of the unfolding narrative. The finesse with which the play was crafted was evident in every scene, leaving the audience emotionally moved as they applauded the brilliance of the direction, design, and performances weaving a thoughtful narrative on memories, time, and human connection.
In an era where real and virtual worlds collide, Ami Asu sheds light on the complexities of human emotion and the unresolved dilemmas of our times, perhaps echoing stories that could emerge from every household. This creative convergence blending the wisdom of the ingenious Amarjyoti Choudhury and illustrious thespian Santwana Bordoloi, whose unparalleled cultural contributions have enriched this land time and again along with the young promising talents Arkupal Ra and Shivangi, beamed through the autumn evenings in the intimate performance space of Udara. Shivangi, a class 12 student, was captivated with her innocent charm and particularly mesmerised the audience with her soulful rendition of Jayanta Hazarika’s timeless classic “Mayamoy Rupali Jonak” in the opening scene of Ami Asu, a celebration of the power of storytelling.
Dr. Amarjyoti Choudhury masterfully captured Koka’s soft-spoken poise, with a deep internal conflict between familial duty and personal desire. Dr. Santwana Bordoloi, as the sharp-witted and graceful Aita-ma, immortalised a woman’s determination, transcending her pain and longing. Shivangi impressed with her range, moving effortlessly between the roles of a fierce journalist and a concerned granddaughter. Arkupal Ra is charmed as Tapan, a gentle friend to Tanvi and her grandparents.
As the curtains fell, Ami Asu left behind a tapestry of emotions that lingers long after. The play, staged on the 25th death anniversary of the legendary Dhiru Bhuyan, was a heartfelt tribute by his son, Sattyakee D’Com Bhuyan. With creatives designed by artist Ranjan Engti, Ami Asu stands as a testament to the power of storytelling and an art that continues to inspire. The audience was left in awe of the finesse and beauty of the production, eagerly awaiting more from D’Passion Collective. Kudos to Sattyakee D’com Bhuyan for his unwavering commitment to excellence in theatre.