In a unique interdisciplinary collaboration, experimental theater artist Shayok Misha Chowdhury and his mother, theoretical physicist Bulbul Chakraborty, have developed “Rheology,” a theatrical work that intertwines scientific inquiry and personal grief. The production, which had its West Coast premiere at REDCAT over a three-night run, explores the complexities of loss through the lens of both art and physics.
Chowdhury, known for his Pulitzer Prize–finalist play “Public Obscenities” and his direction of the off-Broadway production of Jordan Tannahill’s “Prince Faggot,” teams with Chakraborty, a professor at Brandeis University specializing in the science of soft condensed matter. The play centers on the idea of preparing for the eventual death of Chakraborty—who is in her 70s—while Chowdhury remains in his 40s.
The performance begins with Chakraborty delivering a physics lesson focused on sand, posing the question of whether sand behaves as a solid or a liquid when poured through an hourglass. Using an onstage sandbox and scientific explanations, she illustrates the concept of rheology—the study of how materials respond to stress—and highlights the peculiar elasticity of soft matter. Her presentation incorporates both visual aids and written equations that transition from scientific theory into a poetic and artistic exploration.
As the piece unfolds, moments of theatricality blend seamlessly with scientific demonstration. One poignant sequence features Chakraborty appearing to be overcome by dust while pouring sand, which evolves into a rehearsal of a death scene prompted by Chowdhury from his seat in the audience. This segment serves less as a depiction of her demise and more as an exploration of his anticipated grief and emotional response.
The mother and son enact a metaphorical separation where Chakraborty observes Chowdhury regaining composure following loss, echoing her experiences leaving him as a young child. Drawing from his background as a queer artist, Chowdhury channels the figure of a grieving Bollywood widow, using this persona to confront his own vulnerability and test his resilience.
Despite the emotional core of the piece, Chakraborty maintains a scientific rigor throughout the performance, balancing maternal concern with intellectual discipline. Her participation, which earned her an Obie Award, reflects a sincere and collaborative spirit that anchors the production’s dual focus on empirical inquiry and intimate emotion.
The staging, though informal in its structure, reveals precise direction and visual inventiveness. Kameron Neal’s video design complements Krit Robinson’s set, transforming the space into a kaleidoscopic fusion of laboratory, lecture hall, and theatrical stage. The inclusion of songs by Bengali Nobel laureate Rabindranath Tagore and dialogues in Bangla further expand the temporal and cultural dimensions of the work.
“Rheology” ultimately presents a meditation on loss that bridges scientific exploration and artistic expression. Through their combined expertise and affection, Chakraborty and Chowdhury offer a nuanced examination of fragility—both material and emotional—that resonates with universal themes of grief and endurance.