In the Hindu tradition, a sanyasi is someone who chooses to renounce all earthly possessions and ties in order to attain nirvana, or liberation from the material world and oneness with a supreme being. This is considered the highest level of spiritual development, and is a central tenet of vedic philosophy. Rabindranath Tagore‘s play, Sanyasi, currently running at the Capital Fringe Festival, questions this spiritual quest by asking whether someone who ignores the human condition is also disassociating from the divinity that exists in day-to-day life.
Tagore is a literary giant in India who wrote poetry, novels and plays in multiple Indian languages as well as in English. In 1911, he composed a song that would eventually become the country’s national anthem, and two years later he became the first non-European and only Indian to win the Nobel Prize for Literature. Given this biography, it is no surprise that Sanyasi, which was originally written in English, is more of a think piece driven by words and ideas with less of an emphasis on plot or character development.
The 50-minute, one-act play centers around a renunciant, played by Evan Sanderson, who has achieved a sense of moral superiority because he has separated himself from the material plane. He looks at the people around him and sees only selfishness, depravity and greed. He suddenly encounters Vasanti (Nikki Massoud), a young woman. The Sanyasi is alone because he has consciously severed all ties. She is alone because untouchability has been unfairly thrust upon her. Though they come from diametrically opposed social strata, they share a similar existence and forge a connection. Afraid of the fatherly affection that is growing inside, the Sanyasi casts Vasanti away. But the door is open, and he sees spirituality in the bonds of community, family and love. This realization is joyous — almost euphoric — but it may be too late.
Sanderson and Massoud deliver solid performances to establish the play’s core, with Sanderson hitting the proper tone of self-righteous detachment. Massoud’s expression of child-like innocence, vulnerability and unconditional affection draw empathy from the viewer, and she establishes the emotional bridge between the audience and the Sanyasi. The supporting cast does a convincing job of shifting between characters, playing all of the villagers that the Sanyasi encounters. In two standout moments within the play, where the Sanyasi is undergoing a change in his world view, the villagers’ lines are sung by castmembers Amie Cazel and Thony Mena, who both have pleasing voices.
A play like this requires a light touch and every aspect of Ameneh Bordi’s direction is understated. In a clever design element by Renana Fox and Jennafer Crammer, the set consists only of five bamboo poles with clotheslines between them. In changing roles, the cast simply removes a piece of cloth from the string and with the wrap comes a new persona. Keith Adams’ music is equally minimalist and establishes a contemplative mood. Bordi and her production team have removed any extraneous visual or aural input, creating an atmosphere where the text and talented players are allowed to speak for themselves.
Sanyasi has four performances remaining on July 14, 16, 17 and 23. Full ticket and schedule information is available here.
