Scenes from the plays Prastaab () and Bahurupee

At a time when serious plays fail to draw audiences, Gypsy Guild of Mangaldoi has made a laudable effort to stage the Assamese version of Chekov’s two acclaimed short stories.

The outstanding performance of the team offers a flicker of hope as increasing production costs are making it almost difficult, if not impossible, for amateur theatre groups to stage thought-provoking plays. The scene is perhaps not so bad in Guwahati where theatre lovers do get a taste of some real good performances.

It is no easy job to present the great Russian writer’s immortal works against the backdrop of the existing social milieu.

Abdul Aziz, who directed both the plays, proves his mettle as not for once did he deviate from the basic content even with a powerful treatment. No wonder, the plays become hits without compromising on quality.

Prastaab is a hilarious adaptation of a typical Chekov story. Young Ajoy proposes marriage to Basanta’s beautiful daughter Kaberi. But a property dispute mars the friendship. Humiliated and dejected, Ajoy leaves the house only to come back on Kaberi’s request. When everything seems to be going well, Kaberi and Ajoy again cross swords — this time over their pet dogs. Ajoy faints, unable to bear the insult. Finally, good sense prevails.

Prastaab, a 27-minute play, is an excellent adaptation and the charming dialogues make the production thoroughly enjoyable. All the three artistes present flawless performances. Actor Sadananda Deka (as Basanta) is impressive with his strong physique and baritone voice. Nirmali (as Kaberi) also does justice to her role. Pranab Kumar Deka (as Ajoy) is excellent with his childlike mannerisms and impulsive nature, which lends credence to his role as Kaberi’s fiancé.

The second play is 31-minute-long Bahurupee — the Assamese version of Chekov’s much acclaimed short story, Chameleon. Aziz hasn’t deviated from the original play and the simple story-telling style makes the play thoroughly interesting.

The use of just one wooden bench has helped five artistes get enough space for movement on the small stage.

Of the five actors, Jyotirmoy Sarma (as the policeman) and Pratap Sarma (as the man attacked by the dog) deserve special mention. Others like Kankan Bhuyan, Moon Hazarika and Pranab Kumar Deka are also impressive. Pona Das’s backstage performance in creating the perfect sound of a dog’s bark is superb.

However, more care should have been taken in improving the quality of music.