In a poignant exploration of history and morality, the play “Taking Sides” is set to make a significant entry into Chennai’s vibrant theater scene. Known for its deep inquiry into human ethics during turbulent times, the play centers around the illustrious yet contentious figure of Wilhelm Furtwangler, the famed conductor of the Berlin Philharmonic, often dubbed Hitler’s favorite conductor. This provocative moniker encapsulates the complex dualities and controversies that define the narrative’s core.
Directed by the esteemed Atul Kumar, “Taking Sides” delves into the intricate post-War interrogation of Furtwangler by US Army major Steve Arnold, portrayed in the play as a former insurance investigator thrust into a world of ethical dilemmas and cultural introspection. As audiences follow the unfolding drama, Furtwangler’s steadfast allegiance to his music becomes a point of contention against the backdrop of a morally charged post-Nazi Germany.
Atul Kumar, reflecting on the relevance of the play, emphasizes its timeliness in today’s socio-political context. His initial exposure to the narrative came through a film adaptation by Hungarian director Istvan Szabo, based on the original play. “I remember telling myself that I should someday pick up the script and take it to stage. It’s just that the times we live in now, sadly, makes the script extremely relevant,” Kumar explains, underscoring the persistent echoes of past ideologies in modern discourse.
The production evolved during the pandemic, featuring themes of freedom and artistic expression under oppressive regimes. It challenges audiences to ponder the moral tightrope of maintaining one’s integrity amid the tides of fascist rule. “It questions how, at the time of fascism, how one maintains one’s morality. Where does one draw a line?” Kumar adds, raising pivotal inquiries that remain universal.
Photographed during the process, a still from “Taking Sides” showcases Atul Kumar’s adept storytelling, which contrasts with his traditionally exuberant approach to theater. Known for dramatic expressions and a robust, sometimes theatrical style, Kumar ventures into new territory with this piece, focusing on a more classical presentation where dialogue and ideological debate take center stage. “This time, however, he wanted to explore the classical way of doing theatre, where the concentration is on the word and the argument.
. So we have done a play that is realistic for the first time in my 25 years of career,” he notes with a sense of accomplishment.
Though traditionally performed in a traverse format, where audiences are positioned on either side of the performance, the Chennai staging will differ due to venue constraints. Despite these logistical variances, the play’s thematic fidelity remains intact, with historical references meticulously researched to ensure nuanced accuracy without necessitating adaptation.
Reflecting on the cast’s evolving relationship with the material, Kumar reveals a dynamic rehearsal process enriched by lively discussions and robust engagements with literary and journalistic perspectives. “The cast argued, talked, and got in literature and journalistic references and discussed on which side we would stand. Nobody took a clean stand. We realized that we must keep the audience oscillating, and they must leave the auditorium arguing for ideas and concepts,” Kumar states, illustrating the immersive and thought-provoking nature of the piece.
A still from the play captures a moment of intense drama, further amplifying the competing loyalties and moral ambiguities faced by the characters. As Furtwangler navigates accusations of complicity, the audience is invited to deliberate on the resonating question of allegiance to art versus state.
Post-pandemic, the play has adapted to ever-changing audience receptions, embodying the evolving discourse on freedom of expression. “People are now a lot more vocal about things and are accepting of this play. We feel less scared to say the things that we say,” Kumar concludes, highlighting the theater’s role as a reflective space for contemporary dialogue and dissent.
Taking Sides will be staged at Medai, Alwarpet on October 19, 7.30 pm. Tickets are available on BookMyShow for ₹499. As it unfurls rich narratives from a bygone era, “Taking Sides” compels audiences to question, reflect, and engage with the timeless tensions between art, morality, and historical complicity.
