The Sydney Kolam Maduwa, staged The Lost Culavamsa or the Un importance of being earnest about Aryan and Dravidian (a derivation from Oscar Wilde’s The Importance of being Earnest) at the Lighthouse Theatre, Macquarie Park, Sydney, Australia on February 20. The play was written and co-directed by the irrepressible Ernest Macintyre with fellow co-director Adam [...]

The Sunday Times Sri Lanka

‘Our differences are all cultural not biological’

A review of Ernest Macintyre’s The Un importance of being earnest about Aryan and Dravidian, staged in Sydney
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Sheer class: Sunil de Silva as Lady Muriel Panabokke

The Sydney Kolam Maduwa, staged The Lost Culavamsa or the Un importance of being earnest about Aryan and Dravidian (a derivation from Oscar Wilde’s The Importance of being Earnest) at the Lighthouse Theatre, Macquarie Park, Sydney, Australia on February 20. The play was written and co-directed by the irrepressible Ernest Macintyre with fellow co-director Adam Raffel leading from the front.

The opening act set the stage for a scintillating performance with Danton Walgampaya (Sidat de Silva) and James Keethaponcalan (Adrian Manickam) firm friends, laying the foundation to a complex plot that unravelled with intrinsic twists and turns as the play wound its way to a happy ending albeit with a powerful message – “We see here two blood brothers, one Aryan, the other Dravidian. (Pause) Ernest Keethaponcalan, found in a mulla as neither Aryan nor Dravidian, evolved by adoption, through language and culture into a Dravidian. His brother evolved in the same way into an Aryan. Our ethnicities reveal social attributes, not biological differences.”

Lady Muriel Panabokke, Danton’s Aunt played by Sunil de Silva portraying the character of an upper crust lady from Colombo 7, yet dreaming of living between a mix of the last vestiges of the British Raj and the landed gentry of the capital, held the play through to the end. The social interactions between the Aryans and the Dravidians were brought to the fore, discussed and disseminated in a wily manner before concluding that all different beings are culturally evolved to be such, not biologically. This was presented through the emotion of love which hath no caste, creed nor race.

Gwendolyn Panabokke, daughter of Lady Panabokke was played by Ayesha Earey in great earnest. Pamela Mendavitharna, the governess of the infant Ernest (who was lost with the Mulla he was carried in, at the Wellawatte Railway Station, now named James Keethaponcalan after being adopted by a Dravidian family) was played by Devika de Fonseka with grace and style.
Daya Gonsalkorale, a veteran, portrayed an old unmarried Christian priest who falls in love with Pamela to an appreciative audience whilst Priyanga de Fonseka and Adam Raffel did honour to the manservant roles though in the limelight fleetingly.
The beautiful Sadhana Weerawardena, playing Sridevi Kadirgamanathan was a breath of first time acting fresh air and would have a great future on stage if she wishes to. Her languid style enthralled and teased the audience.

Adrian Manickam (James from KKS, who became Ernest in Colombo) was fluent in his display and was a good adjunct to his friend, Danton the other Ernest.  Young Sidat in the role of Danton showed his class as a natural. His presence on stage was a joy to behold. He belongs there.

What can one say of Sunil de Silva’s performance as Lady Panabokke? It was sheer panache.
Take a bow Sunil. It was an evening to be remembered. Bravo to the cast and crew.

( The reviewer is Consul General for Sri Lanka in Australia)

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