“Difficult to watch at times for its violently suggested implications in word and thought. Stunning in its visual staging and presentation. The compelling ensemble work these women deliver drives the plot forward with visceral believability.”

‘Trident Moon’ is set in the back of a transport truck speeding through the newly developed country of India. The time is 1947, set during the Partition of India. It was a traumatic division of British India into two independent dominions: India and Pakistan. The violence was drawn along religious lines by British colonial authorities, and it led to one of the largest mass migrations in history- Hindus and Sikhs moved to India, and Muslims to Pakistan.

Three Muslim women have been abducted by three Hindu women. Are they all going somewhere to be killed? Are they going to freedom? The horror behind these questions hovers in the air.

The opening night production is stunning in its visual staging. Jawon Kang creates an eye-catching raked set design that resembles an oil-on-canvas framed by delicate, gossamer-like fabric. Michelle Ramsay’s selection of soft lighting during the pre-show beautifully highlights this fabric. She is also quite clever, as our eyes follow what appears to be smouldering embers amidst ashes on the floor, shifting our admiration from the admiration of the oil on canvas painting to an entirely different frame of reference. Ming Wong’s costumes aptly reflect the era of war and violence once again. Romeo Candido’s sound design is vividly clear, and at one point, a particular sound effect startled me, which is a good thing considering I wasn’t expecting it.

Anusree Roy’s gut-wrenching script is sometimes difficult to watch. There are violent implications in words and thoughts, from guns being waved around to terribly nasty comments about one of the characters who is developmentally challenged. One of the characters, a pregnant woman, goes into labour. While this occurs, she takes a blunt knife to remove a bullet from a stomach wound while the truck continues bouncing along rocky roads. Where this woman finds the strength to do all this might seem incomprehensible. There is a sadistic sexual moment involving the horrible soldier Lovely (Mirza Sarhan). It’s sickening even to begin thinking about something like this occurring.

Nevertheless, this discomfort is precisely why we go to the theatre. It jolts us from the complacency that can develop regarding our reasons for attending.

However brutal that moment involving the soldier and one of the women remains, it is deftly handled with trust in director Nina Lee Aquino and Intimacy Director Cara Rebecca. Aquino’s staging in the confines of the transport truck emanates a permeating sense of suffocation, adding to the growing tension between the two groups of Muslim and Hindu women.

The powerful ensemble work drives Trident Moon’s plot forward with visceral believability. Thankfully, there are moments of levity to balance the intense dramatic moments, but they’re quick, and we’re right back into the thick of the moment.

I can’t help but think about how timely it is to include ‘Trident Women’ in Crow’s season this year. For one, it is International Women’s Day, which honours women's strength, bravery, and resiliency worldwide.

Playwright Roy’s script does that. These women live through atrocities that none of us can even begin to think about.

Are these scripted events improbable or unbelievable?

As someone who has never suffered the atrocities of war, I can’t say, nor should I.

‘Trident Moon’ is an opportunity to acknowledge the bonds of humanity that link women together.

Although the play is set in 1947, the women in Roy’s story would likely be classified as migrants today. Do the hardships faced by the women in Roy’s tale differ from those endured by individuals who have been deported back to the countries they fled in search of survival today?

I don’t believe so.

Word to future audiences: Please, please make sure your cell phones and mobiles are turned off. We were about four-fifths of the way through the plot. I recall leaning forward in my seat because I was engrossed in the compelling ensemble work before me.

And a cell phone alarm goes off.

My guest grabbed my arm quickly because she, too, was brought out of the moment as I was (and I’m sure others around me were).

This tremendous cast did not allow that blunder to affect them at all.

Please see ‘Trident Moon.’ Pay close attention to its complex plot. The characters give essential information about themselves and their relationships to each other, and it’s easy to get lost if you’re not focused.

Just make sure your mobile devices are turned off.

Running time: approximately 90 minutes with no intermission/interval.

The production runs until March 30 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call the Box Office at (647) 341-7390.

A Crow’s Theatre and National Arts Centre English Theatre Co-production
TRIDENT MOON by Anusree Roy
Directed by Nina Lee Aquino
Set and Props Designer: Jawon Kang
Costume Designer: Ming Wong
Lighting Designer: Michelle Ramsay
Sound Designer and Composer: Romeo Candido
Singer: Hrishov Sarker
Stage Manager: Tamara Protic

Performers: Sahiba Arora, Afroza Banu, Sehar Bhojani, Michelle Mohammed, Muhaddisah, Prerna Nehta, Imali Perera, Anusree Roy, Zorana Sadiq, Mirza Sarhan