Wilhelm Furtwängler, once the celebrated conductor of the Berlin Philharmonic, strides back onto the stage, not in a concert hall, but rather in a riveting theatrical production, “Taking Sides.” This play, which centers on his post-World War II interrogation, is set to grace Chennai after enthralling audiences in nearly 50 performances across the nation. The narrative shines a light on the multifaceted and often contentious persona of Furtwängler by capturing the essence of his encounters with a U.S. Army major, Steve Arnold, who previously served as an insurance investigator. This engagement—poised against the backdrop of varying ideologies—explores the moral ambiguity of artistic allegiance amidst a period of darkness.
Director Atul Kumar, reflecting on his introduction to this poignant story, reveals his initial fascination with “Taking Sides” through a Hungarian filmmaker István Szabó’s adaptation. “The unsettling dichotomy in Furtwängler’s legacy made me feel that the larger conversation about morality versus artistic dedication was a narrative that deserved to be shared with today’s audiences,” Atul shares. He believes the resurgence of themes such as censorship, oppression, and the overarching question of moral compromise in art makes this the opportune moment to bring the story to life on stage.
Crafted during the isolation of the pandemic era, the play requires its audience to confront uneasy inquiries about the intersection of art and politics during regimes of authoritarian rule. “The narrative acts as a reflector of our times and forces us to evaluate where we stand when the line between right and wrong blurs under external pressures,” Atul elaborates.
Diving deep into these complex questions has been a transformative experience for Atul, steering his directorial compass from his trademark vibrant, dramatic expressions towards a more subdued, classical style—where the dialogues and intricate argumentation take center stage. “Attempting a realistic play for the first time in my 25-year journey is exhilarating, and I am sincerely intrigued by how audiences will respond to this narrative shift,” Atul remarks, contemplating the impact of a more intimate interaction with the plot.
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Despite production limitations that necessitate a conventional stage arrangement over the preferred traverse format—which would ideally segregate the audience along a symbolic divide—the core essence remains unadulterated. Each performance is rigorously underpinned by meticulous research, bridging historical references with contemporary relevance to ensure authenticity. “Every cast member immerses themselves in exhaustive discourse, delving into literature and journalistic resources to grapple with our individual stances, maintaining dynamic debates,” Atul explains. This approach fosters an environment where audiences are compelled to interrogate their own beliefs and biases long after they exit the theater.
Emerging through the challenging reservoir of pandemic constraints—first devised over digital connections—the play finds its strength in the resilience of its message. “The pandemic phase connected us in unexpected ways, allowing us to engage in profound dialogues. The world has since evolved, and audiences are increasingly eager and less hesitant to engage with such content,” Atul concludes, reflecting on how societal reception has matured over time.
“Taking Sides” stands as a testament to the enduring power of artful discourse without dictating clear answers. It instead invites spectators into a realm of open-ended exploration—a true reflection on the enduring role of art in society’s moral and ethical landscape.
Catch “Taking Sides” at the Medai in Alwarpet, Chennai, on October 19 at 7:30 pm. Tickets, available on BookMyShow, are priced at ₹499. As the curtain rises, this theatrical expedition promises to challenge, engage, and perhaps unsettle, much like the times we seek to understand through its lens.
