Indian Ink
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Cititour.com Review
Art. Romance. History. Philosphy. No playwright intermingles these subjects with the remarkable intelligence and fluidity of Sir Tom Stoppard. Luckily, his singular gift is once more on display in “Indian Ink,” his enchanting 1995 drama which is now receiving its first major New York production at the Roundabout’s Laura Pels Theatre. Under Carey Perloff’s astute, if occasionally over-broad, direction, nearly three hours fly by as Stoppard’s tale unfolds -- spanning six decades and two countries.
The bulk of the story takes place in 1930 India, where Flora Crewe (the forthright Romala Garai), a poetess better known in her native England for her sensational sex life than her literary prowess, has fled in an effort to regain her failing health. While there, she encounters a host of colorful local characters, from a gallant British official, David Durance (an appropriately charming Lee Aaron Rosen), who falls instantly for her, to a wealthy, salacious Rjah (Rajeev Marma), to most notably, an Anglophilac local painter, Nirad Das (the extremely appealing Firdous Bamji) with whom she strikes up an unlikely friendship and quasi-romance.
It’s actually Nirad’s portrait of Flora that appears on the front of the 1980s volume of the now-famous Flora’s collected letters, edited by a sanctimonious professor named Eldon Pike (a fatuous Neal Huff). But Eldon isn’t content with receiving just that gift from Flora’s still-living youngr sister, Eleanor Swann (the always wonderful Rosemary Harris); he goes back to India to search for a nude portrait of Flora that he believes Nirad had painted. As it happens, though, that particular artwork has ended up in the hands of Nirad’s son, Anish (the excellent Bhavesh Patel) – who strikes up a special rapport with the elderly Eleanor as he attempts to learn about more about his father’s relationship with Flora.
As is true of much of Stoppard’s work, the plot of “Indian Ink” may matter less to the audience than our appreciation for the author’s often ravishing language. For example, Nirad’s descriptions of “rasa,” which translates to how particular colors affect the senses, are simply gorgeous. Stoppard also displays his customary marvelous skill at detailed characterization, so that even minor presences such as Flora’s wily servant Nazrul (a very funny Omar Maksati) are as sharply drawn as larger players like Eleanor, whom while beguiling is also a proper, slightly stuffy Englishwoman. If Flora remains, even at the end, a bit of an enigma, that’s clearly Stoppard’s intention.
A previous knowledge of British Empire politics, especially as it relates to Colonial India, is probably helpful in understanding the full scope of the play, but Stoppard makes sure we all know enough to appreciate its importance vis a vis the play’s subject matter.
Had the show ended up on Broadway, as had once been hoped, we might have been treated to a more elaborate physical production than the serviceable one provided by Neil Patel. I’m not sure, however, that Candice Donnelly’s costumes would have been improved upon, especially the smashing red dress worn by the gorgeous Garai at a formal dinner. But, truth be told, the show’s trappings are merely decoration for Stoppard’s interplay of ideas.
By Brian Scott Lipton
Visit the Site
http://www.roundabouttheatre.org/Shows-Events/Indian-Ink.aspx
Cast
Rosemary Harris, Romola Garai, Firdous Bamji, Bill Buell, Nick Choksi, Neal Huff, Caroline Lagerfelt, Omar Maskati, Tim McGeever, Brenda Meaney, Philip Mills, Ajay Naidu, Bhavesh Patel, Lee Aaron Rosen, Rajeev Varma
Open/Close Dates
Opening 9/30/2014
Closing 11/30/2014
Preview Open/ Preview Close Dates
Preview Opening 9/4/2014
Closing Open-ended
Box Office
212-719-1300
Theatre Info
Laura Pels Theatre
111 West 46th Street
New York, NY 10036
Map
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