Versions of this article ran back in March in three of Times of India‘s Chennai supplements. They weren’t available online, and I’m not very good when it comes to collecting or archiving press clippings, but I was given a copy at some point, and I’ve only just managed to scan it up. Here’s the version that ran on the front page of Times of T Nagar. To read, please click to enlarge.
In today’s Times of India Chennai edition anniversary supplement — here.
This was a surprise (and my name is misspelt!!); am told it’s a condensed version of an interview that ran a few weeks ago, which I haven’t seen yet.
When I heard that The Vagina Monologues — most famously banned in 2004 when Eve Ensler herself was touring the country — was going to be performed in Chennai last week, I thought (like anyone with vaguely literary or liberal ideas) that it was a good step in the right direction. The much-celebrated play was being brought to the city as part of The Times of India‘s Chennai Festival, and a very excited friend grouped together a bunch of her galpals and planned a night out.
The trouble began with the difficulty in getting passes. The person trying to get hold of them was made to run from pillar to post — and it took two days to finally secure the 8 passes we wanted (among other obstacles was the fact that she was told that only one pass could be given per person; we later heard that they were distributing them indiscriminately because so few had been snapped up).
On the night of the play itself, we got to the auditorium early, and were made to queue up in what was thankfully an orderly fashion for about half an hour.
Then we were ushered into the auditorium, had our passes thoroughly checked, led to our seats, and kept from sitting in the front rows, ostensibly for VIPs.
And then we waited. For about forty minutes.
We had heard rumours while standing in line that the play had been cancelled, but were optimistic. All this tamasha and security checks — what excitement! It was bound to be worth it.
Then, two people (one of whom was, I think, the director) came onstage gagged, did something forgetful, and left. Still, we thought there might be hope yet.
And then a young man came on stage and tried to be funny.
He failed. “What play are you here to watch? Say it louder! Well, ladies and gentleman, that is not the show you are going to see tonight. Do you want to know why? Yes? Because the cow jumped over the moon and miscellaneousbullshitIdidn’tcatch.”
Then, almost as an antithesis to the poor dude who thought he was funny, came the man who thought he was leading a revolution.
Among the various things he said about “your great city” and “this great play” and “certain citizens of Chennai do not want a play about violence against women to be performed”, one phrase stands out. “In the spirit of Gandhian love”.
And then, a man took up the mic and… sang.
We left the auditorium as the second song began, and needless to say, we were furious.
But not at the police, not at the “concerned citizens”, and not because the play was banned. These serious questions of censorship, oppression and the silencing of voices against violence against women were not the ones that were asked.
No, the only people we were really pissed off with that night were the sanctimonious production company and the organizers who purported to have all the crusading courage in the world, but absolutely no respect for their audience. We were told somewhere during the speech that the organizers had known for 24 hours that the play had been cancelled.
Despite this, we had all been made to wait (and wait). Not one apology at the door. Not one poster, not one phone call. Not a single thing that showed even the slightest amount of respect for the audience. I live in the city and don’t have children. But what about the people who left work early, who found babysitters, or who commuted from the suburbs, that night?
Why did the organizers/production company take such pleasure in being rude to the audience?
We live in the times we live in. We are all bound by rules. It is how — and for what purpose — we bend or break them that matters.
I’ve directed and performed in a mini-production of The Vagina Monologues, and even at 17 I had enough common sense to do the obvious — substitute the word “vagina” with valenki (Russian for felt boots), thereby not just making a statement about the ridiculousness of censorship, but also letting the larger message of the play come across in spite of it. The Vagina Monologues evolves every year — from a one-woman show with the intention of reclaiming a taboo word, the play has come to be an ongoing international campaign against violence against women. I am aware that Chennai society may not be ready for the word “vagina”, even if it is essentially a medical term, and am not holier-than-thou enough in my feminism to force this issue. We may not be ready for the word, but this does not mean that we are not ready to listen to issues of violence and sexuality.
Or, the organizers could have had an invitee-only event, without publicity. Or a charity gala, with selected monologues performed. Let’s face it — there are only so many types of people in Chennai who would go to this play. Democratic space and free passes are all very nice in theory — but when holding an English play, that too about violence and sexuality, what difference is that honestly going to make?
I don’t know if the production company tried to do these things or anything else, but if they did, I would much rather have been told exactly how they tried to circumvent the censorship than been subjected to a speech about Gandhian love (call me unpatriotic, but did anyone else think of the Mahatma’s famous experiments at celibacy — i.e. naked women sharing his very chaste bed?)
And even if there was just no way around it, why handle the cancellation so selfishly and foolishly?
Ultimately, was the point actually to hold the play and spread its message, or to enjoy the notoriety?
For once, I found myself on the side that didn’t belong to the “artists and feminists”. The production company had a wonderful shot at really raising some issues here in Chennai, whether through their performance or because of the banning of it. They wasted it entirely with their unprofessionalism and myopic sense of the circumstances. I write this as a journalist — if I had been told at the door or through a courteous phone call earlier in the day that the play had been cancelled, I would have turned on my laptop as soon as I could and dedicated column space in support of them. Instead, they turned even their sympathizers away with what was quite frankly a completely stupid and insincere way of dealing with the cancellation. Boo — and please, let someone else do the encore!
Updated: Apparently, Mahabanoo Mody Kotwal, the director in question, has some kind of axe to grind against Chennai. See the comments.