PSAT's new show covers everything from Shakespeare to Ke$ha

The Bard meets the Indian subcontinent meets a parody of the Princeton theater scene in "Shakespeare's Ramesh and Juhi," the latest original production from Princeton South Asian Theatrics. Strange bedfellows indeed, but in the hands of PSAT, the eclectic combination proves to be a rousing success.

Jonathan Nussbaum '10, following the PSAT tradition of naming characters after cast members, plays Princeton senior Michael Nussbaum, who is directing "Romeo and Juliet" for his thesis. When his entire cast quits on him days before opening night - evidently, they all wanted to see the eXpressions show premiering the same weekend - he enlists the services of the Masala Chai Acting Troupe (MCAT, of course) to salvage his show. This improbable partnership spawns the equally unlikely fusion of Shakespeare and stereotyped Indian motifs that is parodied throughout PSAT's production.

The cast is large (20 actors in a show that barely runs 90 minutes), and the production's success largely stems from the strong ensemble work. Several individuals do warrant special mention for comedic prowess. Vikram Rao '11 is downright hilarious playing Kunal, the earnest and stern-faced president of MCAT. Ranna Bansal '11 shines as Ramesh, the slick-talking replacement Romeo who nearly cripples the production when he seduces Nussbaum's flighty and obnoxious freshman girlfriend Juhi (Sarah Paton '13). Rao is also executive editor for sports for The Daily Princetonian.

At the opening of the show, PSAT co-presidents Anjali Bisaria '12 and Myra Gupta '12 reminded the house that audience participation is encouraged. Embracing this appealing break from theatrical convention that is standard at PSAT productions, my fellow spectators were quite responsive, yelling everything from barrages of "That's what she said!" to wittier remarks, which were often as funny as the scripted jokes. The cozy confines of the Wilson Blackbox Theater, packed to capacity with audience members spilling onto the edges of the stage, proved ideal for cultivating these interactions. This distinctive interactive dynamic, the small performance space, the numerous topical Princeton references in the script, and the simplicity of the set and costumes all combine to give the production a communal, organic vibe.

In the closing minutes of the play, Michael's thesis adviser, Hillard Pouncey, an English professor clad in a camel-hair jacket played well by Ankit Panda '12, lavishly praises his student's work before awarding him an A-plus. He especially lauds the Brechtian character of his South Asian interpretation of Shakespeare. Coincidence or not, this PSAT production also struck me as rather Brechtian - the participatory role assumed by the audience, for instance, suggests Brecht's vision for an active, self-aware spectator.

Unfortunately, the technical aspects of the production are quite weak. The work of Krithin Sitraram '13 and Fatema Waliji '12 in the light booth is inconsistent. Despite the stripped-down nature of the set, transitions between scenes are quite slow. Playing music during each change does make each wait less catatonic for the audience, however, and the cast is adept at covering up for the occasional gaffe - during one transition that had obviously run long, Nussbaum spontaneously began dancing to Ke$ha's "Your Love is My Drug" while the crew finished arranging the set.

4 paws

Pros: Funny, distinctive and memorable theatrical experience.