This short play was written and performed while Sri Chinmoy was still on earth, and was nominally about a spiritual master who lived in the 1800s. But in many respects it’s an exploration of the feelings that might arise upon the death of Sri Chinmoy — a way of emotionally preparing people for that possibility. Sri Chinmoy was 73 when the play was written and performed, and would pass on three years later on October 11, 2007.
Although thinly based on a story which Sri Chinmoy told about Ramdas Kathiya Baba, the play incorporates neologisms and surreal elements, including talking animals and a roving reporter described as “rather less clever than the animals.” The cultural backdrop is a distinctly modern one, and we view the death of the master through the eyes of a close disciple who has become somewhat bored with the spiritual life, and is more interested in crosswords.
While his master meditates, Rakhal amuses himself with crosswords.
Rakhal shows his impish side; his master remains serious.
Ranjana Ghose and audience members observe the banter.
Sri Chinmoy described his path as “the path of the heart and not that of the mind.” He often elaborated that the qualities of devotion and gratitude are found in the spiritual heart, whereas the mind is typically restless, dry and arid. In the play, titled The Last Crossword, it is the animals who understand on a feeling level that the master has passed on, while the disciple who is stuck more in the mind has feeling gradually awakened in him.
Kanan as the cow.
Sanjay as the tiger.
The tiger and Rakhal.
Sri Chinmoy also emphasized the value of time and the importance of dynamism: using each moment as another opportunity to realize God. One’s time with a spiritual master on earth is precious and finite, but the disciple, Rakhal, has developed a complacent attitude, as if he had all the time in the world. The play is, in part, a meditation on wasted opportunities, and a plea to use the remaining time wisely.
Events are taking an increasingly alarming turn for Rakhal.
Enter Ketan Tamm as a muckraking reporter, armed with the obligatory handheld mic, loud tie, and cancer stick.
Already confused by encounters with talking animals, Rakhal is in no mood for ambush journalism.
As I write, it is 15 years to the day since Sri Chinmoy’s mahasamadhi, and I find that the play still has meaning for me — perhaps a different meaning as a reflection backward in time, whereas it was originally forward-looking.
Sri Chinmoy himself was present at this performance of the play, which took place in Bali in early 2004. He was very pleased with it. Sahadeva’s extremely moving performance as Rakhal can teach the world much about the meaning of devotion, a concept oft misunderstood in the secular sphere. What spiritual aspirants cannot explain intellectually, they often express in their art.
Rakhal finally confronts the reality that his master has left the body (1).
Rakhal finally confronts the reality that his master has left the body (2).
Sri Chinmoy applauds at the conclusion of the play.
As an amateur writer, seeing my script turned into a living drama by the Torpy brothers (Sahadeva and Devashishu) and other talented actors was one of the most rewarding experiences of my life. I remain grateful to everyone associated with the production and videotaping of the play, but especially to Sri Chinmoy for inspiring me to write it.
Note: That Ketan Tamm played a muckraking reporter is ironic considering that he himself was victimized by a muckraking reporter (well, blogger really) upon his own death in 2014.
Michael Howard
The views expressed are my own, and do not represent any other person or organization.
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Ethics and Spirituality 