RIFLE RANGE BOY: Dattani

30 days in September

Screenplay: Mahesh Dattani

Thanks to MEV for the introduction.

The dilemma is this. For how long will the family look the other way, knowing jolly well that a sinful act that had been committed? People around the family knew about it all along but decided not to squeal, not even bat an eyelid. Are they complicit in the infamy? Is maintaining harmony between members and the status quo in the equilibrium more important than defending the vulnerable?

People say it happened at a different time when the dynamics were different. They say sometimes people do the stupidest of things when they are weak. They should not be vilified for the rest of their lives. They say, “why don't you move on, already?”. His deeds overshadow the creases in his personal life. You have to safeguard yourself. You do not want blood in your hands if his family institution falls aground. Is that something you would like to wish upon them?

Nobody is bothered about the victim. Should she take some blame for the act? After all, she is old enough to be in control of her faculties. Why did she drag it on? She could have said no at any time.

A 2019 play in Washington DC.

People forget it is not about liking it. It is about control and exertion of power by the dominant other. With age and power comes specific responsibilities. Doing the right or honourable thing is being one. One cannot forever claim temporary emotional frailty as an excuse. With great powers come great responsibility. The higher the perch, the heavier the fall and the more damaging the aftermath. There is no get-out-of-jail-free card for this.

This must be a narrative often uttered behind closed doors in many families. Many family scandals are often swept under the proverbial carpet for fear of bringing shame to the family.

This bold play by Mahesh Dattani is an attempt to discuss the touchy subject of child sexual abuse. Mala has problems committing herself to a relationship, and she attributes it to her uncle, who had sexually abused her when she was young. Her mother, despite knowing this all along, decided to turn a blind eye. Mala grows up a bitter lady despising her mother for her inactivity. The conflict becomes more complicated as Mala's mother decides not to confront the issue head-on but instead plunge into religion, hoping that divinity will solve everything. This further infuriates Mala. Meanwhile, there is a young boy who is all head over heels in love with Mala.

A powerful play about a taboo subject and how it distorts one's psyche.