Bhopal’s horror hasn’t faded, but its lesson is sharpened
Production standards have improved in dissection of Union Carbide disaster
Rahul Varma’s Bhopal, about the deadly explosion at a Union Carbide pesticide factory in India in 1984, isn’t so much a play as it is an urgent message in dramatic form.
When it first surfaced in Montreal, in 2001, its form was disappointing. More than a decade later, two things have changed: The production standards have improved greatly, especially the acting and direction. And the content has gained new relevance in light of the LacMégantic disaster.
Although the death toll was much lower in the Quebec town than in the Indian city where the Union Carbide disaster took place 30 years ago, some of the root causes appear to be similar, including corporate negligence and lax surveillance by various lev- els of government.
The most significant factor in Bhopal that strikes the LacMégantic chord is the outstanding performance of Guy Sprung as Warren Anderson, the American Union Carbide CEO who ducked the blame. Anderson is still sought by India’s government for his role in the world’s most destructive industrial calamity.
In his gestures and delivery, even his look, Sprung calls to mind Ed Burkhardt, the CEO of Montreal, Maine & Atlantic Railway, cluelessly telling Quebecers that he and his company were victims of the tragic derailment too.
Varma has made numerous script changes to his docudrama, including the deletion of the narrator, since the play was last seen in Montreal.
Bhopal remains highly didactic and expository, laden with the burden of message, but there are memorable theatrical moments. Many of them involve Ivan Smith as Jaganlal Bhandari, an Indian government official intent on repairing the damage while denying guilt. (Smith is the only member of the original cast who remains with the show.)
Stéphanie Breton beams sincerity as the Canadian physician devoted to her cause of helping women who live in shanties pitched too close to the pesticide plant. Nicole Leroux is pure bureaucrat as the representative of the Canadian consulate, Pascale Sauvé.
Amrit Sanger, as a rising young businessman working for Union Carbide, and Amena Ahmad, as his assistant and main squeeze, do what they can to draw an empathetic response in roles sketched on the wrong side of the ideological fence.
Amanda Silveira, Tania Dos Santos, Saraah Hicks and dancer Seshakamal Iyengar work together as a community of vulnerable slum dwellers who never get a break.
Director Liz Valdez ably follows in the footsteps of the show’s original director (Jack Langedijk), its Toronto director (Guillermo Verdecchia) and Philippe Soldevila, who directed the 2004-05 French production, which played in Quebec City as well as in Montreal.
Bhopal was also translated into Hindi and presented in six cities in India in 2002.
Stéphanie Lambert’s set effectively shows the gap between South Asian slums and the offices of multinational corporations. The music of multi-instrumentalist Baba Alex provides authentic atmosphere, while Aparna Sindhoor’s choreographic touches add a mystical breeze.
Like Annabel Soutar’s Seeds, Bhopal has been a work in progress for a long time, upgrading as it travels. Because of their convictions, its creators forge on, improving their craft.
More than ever, it’s worth
the 90 minutes invested.
Bhopal, presented by Teesri Duniya, continues at the Segal Centre Studio, 5170 Côte-Ste-Catherine Rd., until Feb. 2. Tickets cost $15 and up. Call 514-739-7944 or visit segalcentre.org.