If I had to describe the evening with Credit Titles, I would say that it is an English tale without folklores or any opera music. – (The statement sounds unclear?)
Before I make a comment on the English bit, there are some positives I must add. The story is not just nice, it has many layers plating many facades of humans in a pinup thread of technological advancements. It surely comes under the category of satire. In actors, Leela and Lali have the most fun with their different roles and the best utilisation of their freedom to switch to narrating in an ecstatic style. Swami in his limited presence has given a unique flavour to the play.
The set design was intriguing and placed it to cover the entire stage that automatically minimise the effort of transitions and blocking of the actors. Hence, there is hardly any wasted time that makes you look at your watch.
Coming to the English bit, the play is hard to follow for non-regular English speakers as the entire play is probably 50 (or more) percent of narration and monologues with non-general words. Despite that, the story can be followed if one focuses (which the audience should) on dialogues. In my opinion, a play can celebrate literature but not literally; it must add drama (in its right meaning) in it so that the image can stay with audience even after they leave. Obviously the image also comprises set design and light which was fine except for a few glitches.
With so many dialogues (often not used in general speaking) to deliver, actors often deliver the line in a certain way that was visible except for Leela, good enough part for Lali and Swami; they seem to enjoy it.
Overall, I liked (in fact, enjoyed) the play as a literature but the lack of drama (or probably less drama) gave a pinch of disappointment.
Anyway, to Bangalore Little Theatre – Keep making such experimental plays.