Taking the stage at Kolamba Kamatha over the weekend was ‘Water for Kings’, which captivated audiences with its powerful narrative and evocative performances. The production was staged from 29 August to 1 September, with an extra matinee show on Sunday (1) due to high demand.
The Daily Morning Brunch had the opportunity to witness this profound piece of theatre, and the experience was nothing short of remarkable. Directed by Mind Adventures Theatre Co. founder and Artistic Director Tracy Holsinger and written by Ramya Jirasinghe, ‘Water for Kings’ left us deeply moved, its compelling performances and resonant themes making a mark.
The cast, led by Prof. Saumya Liyanage, Brandon Ingram, Hidaayath Hazeer, Shala Amarasuriya, and Tharusha Kumarasinghe, delivered powerful portrayals that brought this tragic narrative to life. Supporting them were the versatile talents of Dinuli Mendis, Sonali Wanigabaduge, Nabeel Nooramith, and Udula Karawita, with Shala Amarasuriya also contributing as the Music Director, adding an emotive layer to this already impactful production.
In a world where access to water is both a necessity and a luxury, ‘Water for Kings’ masterfully transformed this universal truth into a tragic tale that felt both timeless and eerily relevant. Written in contemporary verse, this play was more than just a theatrical performance – it was a profound commentary on power, inequality, and the high costs of social change.
Set in a mythic land divided into Wet and Dry Zones, ‘Water for Kings’ explored the stark differences between the haves and the have-nots, with water serving as the metaphorical lifeblood that separated them. The Wet Zone thrives, lush and abundant, while the Dry Zone, neglected and parched, becomes a symbol of marginalisation. The play didn’t shy away from drawing parallels to real-world issues, particularly those familiar to Sri Lankan audiences, where geographical and socio-political divisions continue to shape the nation’s landscape.
The power of water as a metaphor
Water, in this play, is more than just a resource; it’s a symbol of power, control, and the inequalities that arise when that power is abused. The deliberate restriction of water to the Dry Zone by the ruling class of the Wet Zone is a clear allegory for how resources are hoarded by those in power, leaving the marginalised to suffer. This is a story that resonates deeply, especially in a country like ours, where similar disparities between regions have historically led to conflict.
The play’s protagonist, Prince Muthukumar, represented the rare figure of a ruler who is not content to let such injustices continue. When he visits the Dry Zone, guided by Rani, a slave girl turned concubine, he is confronted with the harsh reality of the land’s suffering. This moment of revelation is a turning point, not just for the character, but for the entire narrative. The visuals of the Dry Zone, depicted as a wasteland of shrivelled, desperate souls, are haunting and powerful, driving home the severity of their plight.
A chorus of the forgotten
One of the play’s most striking elements was its use of a chorus made up of the dead from the Dry Zone. These spectral figures, embodying the ghosts of those who perished due to the lack of water, served as a powerful reminder of the consequences of neglect. Their presence was a constant, unsettling force that pushed the narrative forward, compelling Prince Muthukumar to confront the failures of his lineage.
Their influence culminates in a scene where they confront the King himself, forcing him to see the devastation his ignorance had caused. This confrontation, and the subsequent change of heart it inspired in the King, marks the beginning of a new era for the Dry Zone, as the King finally begins to take action to rectify the wrongs of the past.
The tragedy of good intentions
But ‘Water for Kings’ is not content to leave its audience with a simple tale of redemption. The second act of the play delved into the complexities of power, showing how even the best intentions can be thwarted by ambition and manipulation. The introduction of the High Priest, a figure who opposes the King’s reforms, added a layer of intrigue and tension to the story. The Priest, portrayed with a chilling intensity by Brandon Ingram, represented the entrenched interests that resist change, preferring to maintain control at any cost.
As the King prepares to abdicate, intending to pass the throne to his two sons, it becomes clear that his vision of joint rule is doomed to fail. The play poignantly illustrated how power struggles, even within a family, can lead to disaster. Prince Asvajith, the weaker of the two brothers, becomes a pawn in the High Priest’s game, manipulated into making decisions that ultimately bring about the kingdom’s downfall.
Muthukumar, the King’s favoured son and the architect of many of the kingdom’s reforms, tragically meets his end in a storm, a symbolic representation of the chaos that ensues when good intentions are not enough to bring about lasting change. His death, while poetic, left the audience with a sense of unfinished business – a reminder that change is often messy and incomplete.
A commentary on modern Sri Lanka
‘Water for Kings’ subtly, yet powerfully, comments on contemporary issues in Sri Lanka. The divide between the Wet and Dry Zones is a thinly veiled reference to the real-world divisions between the country’s north and south, where resources and opportunities are often unevenly distributed. The play’s exploration of how faith leaders can influence political decisions is also particularly relevant, given the country’s history of religious and political entanglements.
The play does not shy away from criticising those who are quick to dismiss the suffering of others simply because they do not share the same geographical or cultural background. The King’s initial ignorance of the Dry Zone’s plight is a stark reminder of how easy it is to turn a blind eye to the suffering of those who are different or distant.
Impressive performances and production
The cast delivered strong performances across the board, with standout moments from Hidaayath Hazeer as Prince Muthukumar and Shala Amarasuriya as Rani. Hazeer captures the complexity of Muthukumar’s character – a ruler torn between his duty and his compassion – while Amarasuriya brings a quiet strength to her role, making Rani the emotional core of the play.
The production itself is minimalist, but this worked to the play’s advantage, allowing the powerful dialogue and verse to take centre stage. The choreography was particularly effective, with the actors doubling as both the background and the set, creating a fluid, dynamic stage that enhanced the storytelling.
Sound design was another highlight, with the use of the venue’s acoustics adding to the overall atmosphere. The original orchestra music, performed by the actors themselves, added a layer of authenticity and emotion to the play, though some moments – particularly the love song between Muthukumar and Rani – felt slightly underdeveloped.
We found ‘Water for Kings’ to be a play that demands attention, both for its poetic craftsmanship and its poignant social commentary. While it is dialogue-heavy, as expected for a piece written in contemporary verse, the play’s message is clear and resonant. It’s a story that, while set in a mythical past, feels all too real in today’s world.
The play’s exploration of the consequences of ignoring expertise, the dangers of misguided opposition, and the relentless pursuit of power makes it a thought-provoking experience that lingers long after the final curtain falls. In a country still grappling with its own divisions, ‘Water for Kings’ serves as a powerful reminder of the costs of inequality and the urgent need for true, meaningful change.
