Rice Boy Cover.indd - Stratford Festival
Rice Boy Cover.indd - Stratford Festival
Rice Boy Cover.indd - Stratford Festival
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A Profile of Sunil<br />
Kuruvilla<br />
by Mark Bly<br />
Below | ArAyA MengeshA (toMMy) And AnitA MAjuMdAr (tinA) in reheArsAl;<br />
AnAnd rAjArAM (fish seller) And, in bAckground, director guillerMo VerdecchiA<br />
Facing Page, From toP | (froM left) AnAnd rAjArAM, AshA VijAyAsinghAM (serVAnt<br />
girl), sAM Moses (grAndfAther) And guillerMo VerdecchiA; ArAyA MengeshA And<br />
guillerMo VerdecchiA; sAM Moses (in bAckground) And rAoul bhAnejA (fAther)<br />
PhotogrAPhy by richArd bAin<br />
In the mid 1990s I encountered Sunil Kuruvilla<br />
as a writer in the Yale School of Drama graduate<br />
playwriting program. Sunil had previously been<br />
mentored by such luminaries as Anthony Minghella<br />
and Alistair MacLeod. His writerly pedigree was<br />
impressive, even intimidating, as viewed from my<br />
narrow perch as the chair of the program. What,<br />
as his new mentor, could I possibly have to say to<br />
Sunil that could compete with the mentoring of my<br />
predecessors?<br />
Late in his first semester, I gave Sunil and other<br />
students in his class an exercise. The students were<br />
asked by me to come into my office and to select a<br />
single image from about fifty art and photography<br />
books. They were told to take that image and<br />
imagine that each of them was inside the image<br />
conducting a “sensory walkabout,” encountering that<br />
landscape in it in a sensory way: smelling, seeing,<br />
listening, touching, breathing, tasting that world.<br />
They were each to report back, as explorers of their<br />
individual worlds, what they had discovered, either<br />
in prose or in play form. I underscored that they<br />
need not worry about creating a plot or characters,<br />
but that each of them should focus in an unfiltered<br />
way how he or she had experienced their image’s<br />
inner world.<br />
A week later in class the students read aloud<br />
to the rest of us their sensory responses. Sunil<br />
wrote in response to an image he had found in<br />
the late Spalding Gray’s photo book In Search of<br />
the Monkey Girl, a collection of tales and photos<br />
about those shadowy figures who inhabit the<br />
exotic world of travelling carnivals. The image Sunil<br />
picked was of a “Popeye” figure, a carney sideshow<br />
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