When you’re an adult, one of the many things you miss the most is probably the ingenuousness of your childhood and the simplicity it once bestowed upon your forsaken infancy. Gone are the simple and colorful splashes of a livelihood that once made you happy. But you’ve always gotta move forward; well, that’s the only option!! And with coming-to-age technologies and social media it’s getting even harder everyday to keep up with the simplicity that you once experienced. We just can’t seem to hold on to and get enough of them. And it’s not just about an intricate lifestyle but everything aesthetic we are revolved around with. From a piece of art to a fragment of music, we tend to seek the steepest ravine to appreciate the art and the artist.
Walking into the auditorium on Anya Theater’s Revenge Factory, directed by Debashish, there’s an instant feeling of proximity conveyed upon the audiences as soon as the curtain unravels. A utility pole entangled with wires with an almost fuzzy yellow light hanging from it. Just the one you would see on the side of a highway. A simple and conversant yet aesthetically pleasing set up, a reminder of the power and aura that a piece of art can have on its viewers. But the question ascends; how exactly does the story of Revenge Factory go along with a simple and colorful plot whose sheer ambition is only to confer its audience a quality time?
Let’s take a walk back to 2017 and its one of the most momentous yet flamboyant creation: Three Billboards Outside Ebbing, Missouri. A dark comedy, crime-drama film that vaunts a flock of strong performances led by Frances McDormand, Sam Rockwell, and Woody Harrelson. It turned out to be so strategically and staggeringly entertaining and crowd-pleasing that the audience at the public screenings in Toronto voted to award the film the People’s Choice Award over the The Shape Of Water.
But what makes the Revenge Factory somewhat analogous to the Three Billboards is the sincere purpose. A purpose pointed in the same direction and that is – ‘to please the audience’ and to put aside the intricacies of imbroglio and technique and show a world where sadness is miserable, happiness is overwhelming, love is somewhat conditional, estrangement is inevitable and above all, kinship and affinity are honest. Leaving the auditorium with such scorching and luminous effect of Revenge Factory, it shows the human nature that goes beyond its moral absolutism, the humanity that extends beyond its voracity of revenge, the performance that does not merely vanquish its incandescence into the mob of alleged farcical comedy, slapstick and mistaken identities and above all, the ingenuousness that humans long for. And beyond anything, Revenge factory is a play that prompts us to be happy beyond the reasoning and factual propagation.
Photo by Andrew Neel from Pexels