Why rewrite the book you might ask?
An ancient Sanskrit treatise on art, the Natya Shastra, suggests that all good theatre accomplishes three tasks simultaneously:
1. It entertains the drunk
2. It answers the question “how to live”
3. It answers the question “how does the universe work?”
I want this to be true for ONE.
I want ONE to be accessible to those who sincerely want just good entertainment, but I also want it to have many layers that audiences can choose to engage with. If someone wants to engage with the larger thematic elements and philosophical musings we are embedding ONE with, they can dig and dig.
While on one hand there is great wisdom in the continual lesson of impermanence and letting go of things you have devoted your meticulous intentions to, there is also something in me that yearns to create expressions that last beyond me. To create something that endures the ever-shifting tides of fashion and perspectives, rides the evolving waves of political and social complexities, and lives to heal and hearten.
ONE can be an enduring creation if we tap the collective chords of human drama and articulate them in an accessible and entertaining way. Many enduring dramas look back in order to look at the present and into the future, and this show does just that. It reaches into our not so distant past and looks at a poetic soul making mistakes and rebelling against the formulae of his era in order to find his own path.