‘Public Obscenities’ at Woolly Mammoth Review
metroweekly.comPublic Obscenities, which he also directs, may have its flaws but it is nevertheless filled with beguiling charm.Set in a modest modern-day home in India (evocatively rendered by scenic designer Peiyi Wong), the premise is certainly juicy: American-raised Choton has come to stay with his aunt and uncle while he films interviews for his American Ph.D.
in gender studies.In tow is photographer Raheem, Choton’s recently-acquired boyfriend, an American who doesn’t speak the language but who is eager to show respect for the family and culture.Chowdhury enjoys gently plumbing the humor in his scenario — and even gives a few nods to Bollywood — but with an agenda that is far more searching and enduring.
This was never going to be a sitcom.A prime example is the way in which Chowdhury explores pacing and the sense of time in his narrative.
Although he delivers moments of traditionally-paced theater with its stylized and contrived pauses and dialogue, there is an equally strong interest in suggesting the ponderous movement of time in real life.
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