The horrific rape and murder of a trainee doctor in Kolkata’s R.G. Kar Hospital in August 2024 shocked the world. The widespread activism in its aftermath hit the international headlines again, spread across 130 cities in 25 countries, Australia included. This year, a theatrical production based off the infamous case now known simply as ‘Abhaya’ (the fearless), came to the Adelaide Fringe.
Performed live at Adelaide’s Star Theatre, The Cry of the Hour commanded attention not just for its raw depiction of women’s suffering, but for its power to unite voices across the globe. Much more than a mere recounting of one woman’s horror, the play is a stark commentary on the systemic violence against women, underscored by the indifference and cruelty that persists in too many corners of the world.
Its message, that sexual violence and cruelty are harmful and dehumanising acts, disproportionately reinforced by cultural norms against women, was a chilling reminder of how far we still have to go in the fight for women’s rights. Written, directed, and produced by Paramita Roy, Adelaide-based teacher, theatre maker and social activist, a simultaneous digital screening took the story far beyond the confines of the theatre.
At the heart of the performance is the fictionalised portrayal of Jyoti, a woman who finds her life shattered after hearing about Abhaya’s death. Jyoti’s journey into activism mirrors the transformation of countless women who, faced with unbearable loss, choose to rise against a culture that perpetuates violence.
The play’s staging is harrowing, each scene driving home the reality of injustice, while the interwoven narratives bring to light the complexity of emotions from despair to defiance.
But it is the incorporation of Afghan girls in exile that turns this performance into a powerful statement of global solidarity. With the Afghan girls’ participation woven into the play via a pre-recorded segment, the production not only expands the message of justice but amplifies it on a global scale. These girls, many of whom face the threat of imminent deportation, stood in solidarity with the play, their personal stories of survival and resilience embedded within the performance. One of the most poignant moments was when Afghan voices echoed through the theatre, reminding the audience that the fight for women’s rights is not confined to any one country, but is a universal struggle.
In a deeply emotional moment at the digital screening, the audience was left in stunned silence as the father of the R.G. Kar victim, who was present for the event, spoke with raw honesty and grief about his daughter: “On 9th August 2024, the criminals of this society destroyed our world. Since then, we have lived as the parents of the R.G. Kar victim, a name no parent should bear. We fought to raise our daughter. Now we will fight even harder to bring her justice. This is our promise. To those who have stood by us, you are our strength. Stay with us. Stand with us. We will not let her voice be silenced.”
The performances on stage were nothing short of riveting. The young actors, including students from Adelaide’s schools and universities, brought an urgency to the story that resonated deeply with audiences. Their energy, passion, and courage made the play a visceral experience, as they tackled themes of injustice, loss, and the empowerment of women. ‘Cry of the Hour’ at Adelaide Fringe
Particularly poignant, was a young actor’s rendition of Archie Roach’s Walking into Doors
Why should we
Do what we do, and sleep at night?
The crazy things
We put her through, it isn’t right
So, my brothers
Don’t hurt her anymore
She’s got her hurt, Lord
You got yours
And she’s sick and tired
Of walking into doors.
The music, a stirring composition by an Indigenous ARIA Hall of Fame Award-winning artist, performed live by Adelaide singer Krystan Decunha, took the emotional intensity to another level. The hauntingly beautiful score served as the perfect backdrop to the unfolding drama, leaving a lasting imprint on those who experienced it.
Sets and costumes were minimalist yet evocative, immersing the audience in the play’s raw realities. Stripped of embellishment, every element highlighted the horrors of systemic violence against women and the courage to confront it.
At its core, The Cry of the Hour is not just a play, it is a rallying cry for justice. It pulls no punches in its depiction of the cruelty that women face, yet it also empowers us with the message that change is possible. As artist Asit Sain, whose sculpture The Cry of the Hour inspired the play, expressively remarked, “The inhuman treatment of women, the very beings who nurture and bring us into existence, is beyond imagination. The cries of every Abhaya across the world echo in my soul, and through this performance, I hope we begin to hear them.” ‘Cry of the Hour’ at Adelaide Fringe
The air at the Star was electric, heavy with the weight of a message too urgent to ignore.
The audience walked away haunted by its message, perhaps more aware of the brutality women face, but also moved by the hope of resilience and collective action.
The Cry of the Hour may well be a story of violence and suffering, but it is also one of the promise of change – not just in Kolkata or Afghanistan, but everywhere.
If you or someone you know is a victim of domestic violence, download the ‘Empower You’ app by the NSW Police Force. It can be downloaded via Google Play or the App store.
READ ALSO: Abhaya case: Adelaide joins global protest against gendered violence
