Public Obscenities (Play)

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    “All the World’s a Stage” and “Rheology” Are Promising New Productions

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    Two worlds of promise: “All the World’s a Stage,” a musical by Adam Gwon, and “Rheology,” Shayok Misha Chowdhury’s follow-up to “Public Obscenities.”Adam Gwon’s new musical, “All the World’s a Stage,” is an unassuming, 100-minute marvel that follows a closeted math teacher at a rural high school in the 1990s. Like some of that decade’s gay-themed indie movies, including the earnest “Edge of Seventeen” and “Trick,” this musical is not looking to reinvent the wheel with its storytelling, but is charming, specific and appealing in its rendering of gay life outside the mainstream.Ricky (Matt Rodin), a 30-something teacher with a new job, befriends a kind secretary, Dede (Elizabeth Stanley), and meets Sam (Eliza Pagelle), a rebellious student in whom he finds a kindred love of theater and simmering need to break free from societal expectations. They bond over “Angels in America,” the new risqué play and the source of her monologue for an acting scholarship audition. But her selection threatens the school administration’s conservative sensibilities.At the same time, Ricky is striking up a romance with Michael (Jon-Michael Reese), the owner of a gay-friendly bookstore in a slightly more progressive town where he’s settled down. When Ricky’s two worlds inevitably collide, they do so with well-crafted wit.Gwon’s yearning, pop-classical score flows together beautifully, yet is composed of numbers distinct enough to allow the four excellent cast members to flex their skills. That balance between individuality and unity proves a key theme, expressed in the title’s idea that each of us is always adapting our performance across circumstances. (He also has fun with some clever lyrics, at one point setting up “hara-kiri” to seemingly rhyme with “Shakespearean.”)The director Jonathan Silverstein draws warm portrayals from his troupe (matched by a quartet playing onstage) in his modest, efficiently staged Keen Company production at Theater Row.Jennifer Paar’s costumes are instantly evocative; button-up shirts and wire-frame glasses for the teacher and bomber jackets for his pupil. Patrick McCollum’s movement work is gently expressive and Steven Kemp’s scenic design is similarly to-the-point, with a bookcase or chalkboard rolled in as needed, a lone student desk and an American flag hanging ominously in the corner.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Public Obscenities,’ the Transgender Activist Tashnuva Anan Makes Her New York Debut

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      Tashnuva Anan Shishir, who became her country’s first transgender news anchor in 2021, is performing in “Public Obscenities” at Soho Rep.When Shayok Misha Chowdhury wrote the character of Shou for his new bilingual play, “Public Obscenities,” about a couple who interviews queer locals in Kolkata, India, he was “super worried” about casting the role. The performer would not only need to be of the appropriate gender but also a Bangla speaker with the right “linguistic fluency” to capture the character, who speaks “exuberantly and forthrightly and confidently,” he told me recently.Shou identifies as kothi, an Indian gender that encompasses a breadth of expressions, Chowdhury said. So he reached out to a friend for advice: Debanuj DasGupta, a professor at the University of California, Santa Barbara, who is “very in the sort of Bangali queer and trans space.” After the professor mentioned Tashnuva Anan Shishir, Chowdhury searched her name online, and several questions came into his head: Is she even in New York? Would she be interested in auditioning?When he posted a casting call on Instagram, and Anan responded, a plan started to coalesce. She was in New York, performing in Queens, in “I Shakuntala,” a play by Golam Sarwar Harun and Gargi Mukherjee, a married couple who would also go on to star in “Public Obscenities.” Anan’s role was small, but she “stole the show,” Chowdhury said.After she auditioned for his play, it was practically unanimous, he said: “We have found the person.” While Shou doesn’t appear until 50 minutes into “Public Obscenities” — its run at Soho Rep (in a coproduction with the National Asian American Theater Company) has been extended through April 16 — the character has been among its most memorable.In “Public Obscenities,” Anan, center, plays a scene-stealing interview subject, our critic wrote in a review of Shayok Misha Chowdhury’s play.Julieta CervantesIn March 2021, Anan made history as the first transgender news anchor in Bangladesh. For three minutes, on International Women’s Day, she spoke on the air and was seen by millions of her compatriots. She went on to anchor occasionally for the network, Boishakhi TV, through November 2021.In December of that year, she came to New York, her first time in the United States. Her trip was primarily to receive care related to what she calls her transformation. And while here, professional opportunities have arisen: Last year she became the first transgender model from Bangladesh to walk in New York Fashion Week.Anan, 31, grew up in a conservative Muslim family and has had a grueling journey to this point. She has endured relentless harassment and survived suicide attempts; been shunned by family members, including her father; and lived penniless in a slum.“I really wanted to be an actress,” Anan, who performed in theater in South Asia and in a small Bangla film, “Kosai,” told me recently in a video interview. “People shouldn’t be considered by their gender. People should acknowledge their work. People should acknowledge their skill.” Being a news anchor in Bangladesh was eye-opening, she said, but it couldn’t quite open up the world for her like the United States could. “I was feeling that I have to swim. So I should swim in the ocean, not in a pond, not in a river. So if I can achieve, I can achieve. If not, then not.”Here are excerpts from our conversation, which have been edited for length and clarity.“I had to pay a lot. I had to leave my family to prove my identity,” Anan said.Desmond Picotte for The New York TimesHow has life in New York been for you?It’s a lot of adaptation. I’m born and raised in a village, not a city. The city is highly competitive, but I like this competition. Being an activist, this is a great eye-opening for me to learning, to adapting to each other, to teaching how is the activism going on. When I was in Bangladesh, I was working in a national level. Now I’m in New York, and I’m working globally. I’m contributing internationally. So this is a good opportunity for me.You’ve shown remarkable perseverance. What gives you strength?For myself, that I believe: Do your own job. Just do hard work. There is no shortcut in life. Just believe in yourself. And just, first, inspire yourself. I have competition only with myself, because I’m trying to do a little bit better than yesterday.Why do you think Shou has been so memorable to audiences?Shou is intelligent, Shou is extra-talented, an extrovert, and Shou knows actually about this scenario: the situation of queer people, queer activism, especially in Kolkata, Bangladesh, Pakistan. So Shou is charming everyone. Shou is connected with everyone.Shou is very common character in South Asia because Shou is kind of a feminine guy, so Shou would like to wear femininity in her body or in their body. So this feminine guy represents South Asian queer community also.How do you see yourself in this character and how are you different?Tashnuva bold, Tashnuva sexy, Tashnuva brave, Tashnuva iconic — and the brand I created, I had to pay a lot. I had to leave my family to prove my identity. Shou is also powerful. Shou is also entertaining. Shou is also jolly. Shou is also friendly. Tashnuva is sometimes moody, because people can consider my self-esteem or people can consider my self-respect as an ego, but I had to maintain it. But Shou doesn’t have that; Shou is more friendly.When I get confirmation from my team, I was a little bit tense actually, because, see, I have long hair, and the show is going to put, like, a wig. Then I asked Misha, “Should I cut my hair? I can’t!”First time, when I watched myself with that wig, with proper costume, I was so low — believe me, I was so low. I didn’t feel well because still, then, I didn’t believe Shou. So I was trying to just discover what was going on. Now, I literally fall in love with that wig. Yeah, this is me, this is Shou.How has the reception been from South Asian audiences?Oh my God, they appreciate a lot. They were looking at their sorrows in front of them. They’re looking at their life in front of them, through Shou’s eyes. I got lots of messages from my friends — “Tashnuva, you’re doing really well because this is not doing acting, this is very natural.” I wanted to be a natural actor. I want to play a character that should be more natural, that should be believable. I really believe when I am doing something, people should believe.Last night, when I’m coming toward audience, a girl literally was crying, and she was from Bangladesh, and she born and raised here. She only heard me by social media, and this is the first time we get connected in person. And she was telling me, “Tashnuva, this is the story that we know but we couldn’t tell in front of people.”What’s next for you?I don’t like to say my dream because people are always critics. So I love to keep my dream inside. I am looking for opportunities to act more. So I think now, just now, after this project, I want to jump into another project. There I can play a more powerful character. There I can say another story. I don’t want to pursue any character that is very common.When I think about performance — light, camera, action — I love Broadway performance. Today and tomorrow, is my dream that I will perform in Broadway, or I will perform in a Hollywood film. When I start working, I just forget my every pain. I just forget everything. And this is the performance that inspired me a lot, that did a lot for me. More

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      Review: ‘Public Obscenities’ Pushes Far Beyond One Field of Study

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      The new work from Shayok Misha Chowdhury creates a strong enough center for the rest of its disparate parts to hold, and leaves the audience craving more.It is a testament to Shayok Misha Chowdhury’s gifts as a writer that he is able to evoke as many themes, histories and possibilities as he does in “Public Obscenities,” and leave his audience not dazed or frustrated, but longing for even more. Truthfully, the work might best unfold as a mini-series, a longer medium where his interests can find proper room to breathe.Running just under three hours, the play’s premiere production at Soho Rep, in Lower Manhattan, is both too long for one cohesive sitting, even with an intermission, and too short to tidy up all the threads at which it pulls. But, co-presented by the National Asian American Theater Company and directed by Chowdhury with a swooning hypnotism reminiscent of the best works of neorealism, it creates a strong enough center for the rest of its disparate parts to hold.To be fair, Chowdhury winks at the impossibility of successfully wrapping up all his concerns in a terrific quip from Choton (Abrar Haque), a Bengali American student who had returned to his native Kolkata, India, for a vaguely defined academic project. At the Ph.D. level, he explains, fields of study — English, anthropology, performance, gender, cinema — all start to look and feel the same.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.Along with his non-Bangla-speaking cinematographer boyfriend, Raheem (Jakeem Dante Powell), Choton hopes to interview queer locals found on the hookup app Grindr. To what end, exactly, is uncertain, but it does allow Chowdhury to explore the difficulties of mixing business, pleasure and personal experience in the precarious quest to analyze subcultures defined by their marginalization. Their own relationship dynamic is called into question as Choton and Raheem set up a joint Grindr account, and Haque and Powell navigate these burdensome complexities with touching humanity and intelligence.Their study also provides an excuse for a scene-stealing interview subject to come into the picture, played by the transgender activist Tashnuva Anan with a liveliness and self-assurance made for public adoration. Anan’s character, Shou, identifies as kothi, a native Indian gender similar to an effeminate man and, through Shou, Choton confronts his feeling of alienation from his compatriots’ queer scene.Apart from a later foray into a nearby river, he does this from his late grandfather’s house, now kept by his aunt (Gargi Mukherjee), her online billiards-addicted husband (Debashis Roy Chowdhury) and their housekeeper (Golam Sarwar Harun). With their colorful side stories and performances, these three build out a world unconnected to the young couple’s mission, which is also thrown off-balance through the discovery of an undeveloped film reel inside the deceased patriarch’s camera.This abundance of plot (is it too late to mention Shou’s street-smart friend, played by NaFis?) should come closer to overwhelming the production, but Chowdhury’s cinematic direction — aided by title credits screened onstage by Johnny Moreno (who also turns the space into a serene riverbank), Barbara Samuels’s transitional lighting and Tei Blow’s inventive sound design — keep things steadily afloat. And the sunny one-room set, by dots, a scenic-design collective, is ravishing in its simplicity and use of soft canary yellow (and burning incense).This expansive production casts a wide net, yes, but one kept from being spread too thin by a uniformly excellent cast and the deliberate pacing of a confident playwright. Chowdhury also accomplishes the not-insignificant task of successfully writing a bilingual play, with some of the Bangla dialogue translated via supertitles and some left to nonspeakers’ imagination.If the play ends with some unfortunately unanswered questions, its conclusion is a hopeful, not frustrating, one. Chowdhury is a writer with great promise who, with “Public Obscenities,” may have found himself on the brink of greatness.Public ObscenitiesThrough March 26 at Soho Rep, Manhattan; sohorep.org. Running time: 2 hours and 50 minutes. More