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Crimson Gully - Great Indian Theatre Company

Reviewed by Kate O'Sullivan

 

Presented by the Great Indian Theatre Company, Crimson Gully offers a culturally rich and emotionally layered narrative that brings important, universally resonant issues to the stage. Hosted at the NEXUS Theatre at Murdoch University, this 125-minute drama (performed without an interval) ambitiously explores the lives of women navigating the sex trade, juxtaposed against broader societal and political backdrops.


Set in Kotha 44, an Indian brothel, Crimson Gully delves into the resilience and survival of women entrenched in the sex trade. It explores how they find themselves there, the alliances they form, and the fragile hope for escape. The narrative is both poignant and raw, shining a light on the strength, vulnerability, and humanity of its central characters. The script, while rich in themes, sometimes struggles under the weight of its many subplots. The primary focus on Muskaan (Nidhi Wilson), Mansi (Karthika Nair), and Champa (Monika Dhamija) is compelling, but the inclusion of a political subplot and secondary male-driven narratives dilutes the emotional impact. Greater emphasis on the lives of the women within the brothel — their pasts, their dreams, and their relationships — would have strengthened the storytelling. The political subplot felt tacked on, serving more to justify the presence of the male characters than to illuminate the women's struggles. Bollywood influences infuse the production with vibrant moments of drama and spectacle. However, the balance between cinematic flair and theatrical intimacy occasionally falters. Declarative dialogue often takes precedence over organic conversations, resulting in moments that feel less grounded than the women’s experiences warrant.


Wilson delivers a heartfelt performance as Muskaan, anchoring the show with her character’s transformative journey. Her dynamic with Mit Singh’s Madan adds warmth, offering a tender counterpoint to the harshness of Kotha 44. Karthika Nair stands out as Mansi, whose heartbreaking vulnerability evolves into quiet strength. Her journey is among the most affecting in the production. Monika Dhamija’s Champa provides a grounded and reflective perspective, though her quieter monologues sometimes struggled to break through the soundscape. The male performances, though energetic, felt less nuanced. Dilip Ajwani and Ashish Malik often leaned into melodramatic villainy, which felt at odds with the production’s otherwise grounded tone. Their characters’ lack of depth, combined with their roles in a tangential political subplot, made them feel less integral to the heart of the story.


The costuming across the show was lovely, offering an excellent nod to the cultural context of the narrative. Traditional clothing for both men and women added to the authenticity of the setting, helping to immerse the audience further into the world of Kotha 44. The set design also impressed, effectively capturing the world of Crimson Gully, with stark contrasts between the locations. However, the frequent blackouts needed for transitions disrupted the pacing, pulling audiences out of the moment. A more seamless approach, perhaps using lighting and movement to suggest location changes, could have maintained the narrative’s flow. Speaking of lighting, the smaller, intimate scenes — particularly those near the "cart" — were effectively lit, evoking mood and tension. However, broader scenes often relied on basic washes, missing opportunities for more atmospheric storytelling.


Practical effects were a highlight, especially in the use of food props and the climactic final scene, which added visceral realism to the production. The fight choreography was well-executed, striking a balance between drama and restraint. Dance sequences brought energy and visual beauty but felt overly long, detracting from the pacing. Shortening these moments would have preserved their impact while keeping the focus on the plot. The soundscape was engaging, particularly during transitions, helping to maintain energy. The turning on and off of the radio was a wonderful addition, with special compliments to the sound technician for its seamless integration into the atmosphere. However, volume inconsistencies occasionally overwhelmed quieter, more introspective moments, such as Champa’s monologue, and some lines were lost amid the louder soundscapes. Additionally, several characters tended toward shouting, which diminished the emotional nuance of their performances.


Crimson Gully is an ambitious and heartfelt exploration of survival within the sex trade. While it tackles significant and universal themes, the production would benefit from a more streamlined narrative and greater technical finesse to match the depth of its story. Though performed without an interval, the natural pause between Mansi’s introduction and the subsequent scene would have allowed audiences to reflect on the information presented thus far and then regroup before delving further. A solid production with room for refinement, Crimson Gully is a testament to the importance of culturally specific yet universally resonant storytelling. The Great Indian Theatre Company demonstrates significant promise, and this work leaves audiences eager to see how they continue to grow and evolve.


Paromita Mukherjee (Taai), Mit Singh (Madan) and Nidhi Wilson (Muskaan). Image Credit: Albert Antony Roy.

Reviewer Note: Tickets for this review were provided by the theatre company.

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