Crimson Gully

The second major production by The Great Indian Theatre Company, Crimson Gully, played for a short season to sold out houses at the Nexus Theatre. Starting each show with reminders of theatre etiquette, and a front of house member who felt the need to explain that A row was at the front, and that the seats followed the alphabet back from there, it is clear that they are bringing new audiences to theatre, and that is a great thing to celebrate.

A Crimson Gully is a reference to a laneway of brothels, and this play focuses on the fortunes of ones of these establishments, against the background of local politics. The major plot line is quite strong and assisted by excellent performances by the actresses playing the women of the brothel - makes for interesting viewing. The B plot is less engaging, but still features some decent performances.

Sreekanth Gopalakrishnaan, the force behind The Great Indian Theatre Company, not only wrote and directed Crimson Gully, but also designed set, costume, sound and lighting. While he is obviously a man of many talents (these areas in isolation are all very strong), an outside eye or a dramaturg might have helped create a stronger show. The show ran longer than its advertised 115 minutes without an interval, and this was mainly due to a too relaxed pace, and overlong gaps between scenes - a problem meaning that momentum is lost and had the audience checking their phones between scenes.

Nidhi Wilson is outstanding as central character Muskaan, a young woman born into the brothel, with a commitment to her vocation that is proud and dignified, Monika Dhamija is strong as Champa, Richa Vinod is sympathetic as a woman struggling to find her place as she ages out of the profession and Paromita Mukherjee commands power as matriarch Taai. Karthika Nair wins our sympathy as Mansi, tricked into marriage and sold to the brothel, while Hiral Jobanputra brings intelligence and fire to the role of social worker and activist Smriti.

There are other impressive performances within this cast of sixteen, including Mia Singh’s genuine and open performance as young romantic Madan, and the company work well as an ensemble.  Theatre companies looking for Indian actors in 2025 (and I know there are several) should take a close look at this cast.

A gentle, and touching story, that clearly entertained its audience. Well done to all involved.

Kimberley Shaw

Photographer: Albert Antony Roy