Tupperware of Ashes starring Meera Syal OBE has world premiered at the Dorfman theatre at National Theatre London this autumn. A Review by columnist Riccha Grrover for Asian Lite International
The production is a vivid and heart-breaking family drama about life, immigration and the Indian spiritual cycle of death and rebirth. It is a compelling play that delves into the intricate tapestry of family and cultural identity; a poignant exploration of grief, memory, and narrative that centres around a South Asian family navigating this, intertwining humor and sorrow to create a deeply resonant experience.
The characters are vividly portrayed, each representing different facets of the immigrant experience. The matriarch, grappling with her role and expectations, serves as a powerful anchor for the story. Her interactions with her children reveal the generational tensions between preserving heritage and embracing modernity. The siblings’ differing responses to their shared loss highlight the complexities of familial bonds, making the audience reflect on their own relationships.
An ambitious Michelin-Star chef, Queenie is used to having the last word. But when her children notice gaps in her memory and her grip on reality loosening, they are faced with an impossible choice. As Raj, Gopal and Kamala battle to reconcile their life-long duty to their mother, the ramifications of their decision take on a heartbreaking permanence.
The cast includes Raj Bajaj, Natalie Dew, Marc Elliott, Stephen Fewell, Shobna Gulati, Avita Jay, Meera Syal and Zubin Varla.
The creative team, led by director Pooja Ghai (Artistic Director of Tamasha Theatre Company) includes set and costume designer Rosa Maggiora, lighting designer Matt Haskins, composer Nitin Sawhney, sound designer Elena Peña, illusions director and designer John Bulleid, movement director Anjali Mehra, fight and intimacy directors Rachel Bown-Williams and Ruth Cooper-Brown of Rc-Annie Ltd, casting director Naomi Downham, music associate David Shrubsole, dialect coach Hazel Holder and staff director Layla Madanat.
Syal’s sharp, insightful dialogue balances poignant moments with wit, keeping the audience engaged. The use of everyday objects, like Tupperware, as symbols of both practicality and emotional baggage adds depth to the narrative, suggesting how we contain our memories and emotions.
The lighting, set design, sound effects and costumes are on point. The staging is effective, with a minimalistic set that allows the characters’ emotions to take center stage. The lighting and sound design enhance the atmosphere, subtly reflecting the characters’ internal struggles.
Zubin Varla (Ameet)
Overall, “Tupperware of Ashes” is a thought-provoking piece that invites reflection on how we honor those we’ve lost while navigating our identities. Its blend of humor and heart makes it a touching exploration of family, making it a standout work in contemporary theatre. This play serves as a reminder of the importance of connection and the complex legacies we inherit. It is a hard-hitting and mind-blowing production all at once, a heart wrenching and an immersive experience.
The actors deliver an incredible performance in this intense and moving play where all actors especially Meera Syal OBE is truly in top form! It is inspiring to see a South Asian cultural narrative take centre stage, raising the banner for diversity in theatre in London. This is a must-watch production! Highly Recommended. This play is on until 16 November 2024.
Meera Syal (Queenie)Meera Syal (Queenie)Meera Syal (Queenie)Meera Syal (Queenie)Zubin Varla (Ameet) and Meera Syal (Queenie)Raj Bajaj (Raj) and Meera Syal (Queenie)Meera Syal (Queenie) and Avita Jay (Jamila) Natalie Dew (Kamala) and Meera Syal Stephen Fewell (Pavel) and Meera Syal (Queenie) Meera Syal (Queenie) and Shobna Gulati (Indrani) Zubin Varla (Ameet), Meera Syal (Queenie) and Shobna Gulati (Indrani) Zubin Varla (Ameet), Meera Syal (Queenie) and Shobna Gulati (Indrani)
Staged at a prestigious auditorium in Mumbai, “Hamare Ram” features veteran actors Rahull Bhuchar as Ram and Ashutosh Rana as Ravana, writes Chetanya Mundachali
Felicity Theater’s latest production, “Hamare Ram” (Our Ram or Our Lord Ram), has captivated audiences with its mesmerizing portrayal of the Ramayana, one of India’s most revered epics. Written by Sage Valmiki, this ancient tale of good vs. evil continues to enthrall modern audiences, particularly in an era where theater is experiencing a resurgence in popularity over digital entertainment.
Staged at a prestigious auditorium in Mumbai, “Hamare Ram” features veteran actors Rahull Bhuchar as Ram and Ashutosh Rana as Ravana. The duo masterfully brings to life the eternal story of the triumph of good over evil, as seen through the eyes of Lord Surya.
Rahull Bhuchar(left) Harleen Kaur Rekhi as Sita
The play navigates various pivotal periods from the Ramayana, including Ram’s exile, his marriage to Sita, the epic battle with Ravana, and ultimately, his victory. The narrative begins with Lav and Kush, Sita’s sons, questioning Lord Rama about their mother’s fate after she takes refuge in the arms of Bhumi.
Through Lord Surya’s perspective, the play takes the audience on a mythological journey, exploring the eternal love, ordeals, trials, and triumphs of Lord Rama and Sita. Ravana’s character, in particular, fascinates the audience, offering a nuanced portrayal of his complex devotion to Lord Shiva.
Ravana kidnaps Sita scene
The production features breathtaking sets, including the majestic courtroom of Lord Ram and the divine Shivling, which evokes awe in the audience. Ravana’s backstory, highlighting his unmatched devotion to Lord Shiva, receives critical acclaim. The superhuman penances performed by Ravan to win Shiva’s grace inspire the audience, shedding light on the intricate relationship between God and devotee.
As Ravana composed the Tandav Stotram, the audience watched with bated breath, delighted by the three-eyed Lord’s divine dance. The play masterfully invites the audience to delve into the complexities of two of Hindu mythology’s most cherished characters: the impeccable Ram and the personification of ego and evil, Ravana. After the battle in which Ravana was defeated, the audience watched as Ravana imparted his knowledge to Laxman. Before this moment, it became clear to the audience that Ravana misunderstood might for justice.
Tarun Khanna as Lord Shiva
Interwoven with comedic moments that leave the audience in stitches, “Hamare Ram” is a theatrical masterpiece that revives the timeless epic of Ramayana, reminding us of the power of good over evil. The background music that played during the Act was performed by veteran Bollywood singers -Shankar Mahadevan, Sonu Nigam, Kailash Kher and Saurabh Mehta that stirred emotions in the audience.
Rahull Bhuchar, founder and CEO of Felicity Theater announced that Hamare Ram is the best Play in India and also that this was their 85th show that kept audiences enthralled and at the edge of their seats. Bhuchar’s portrayal of Shri Ram of Ayodhya had a emotional impact on the audience. The actor also fervently wished that Lord himself was watching Hamare Rama from the Heavens. The realisation dawned upon the audience that there can be no Ram without Ravana and no Ravana without Ram.
Not much is known about Alkazi’s Arab lineage, but the daughter constructs it in the book by interviewing her father’s immediate siblings, the father himself, and discovering some recent material from a few academics on the Arab merchant families who had settled in India, mainly in Bombay…writes Sukant Deepak
As his daughter, he treated her with the utmost care and was loving and protective. As a student, he was a hard, even harsh, taskmaster and pushed her to give her very best. But when she designed costumes for some of his productions, he treated her as a professional and gave her complete freedom to express her creative ideas.
Former Chairperson of the National School of Drama (NSD) Amal Allana, who recently wrote ‘Ebrahim Alkazi: Holding Time Captive’ (Penguin), told that in all these associations, her relationship with the father of modern Indian theatre altered, thus giving her an insight into different aspects of his character, personality, and sense of aesthetics.
Alkazi was not just the founding director of NSD but also someone who lent new metaphors to Indian theatre and metamorphosed it through his unique vision, as through his production of Girish Karnad’s ‘Tughlaq’ at Delhi’s Purana Qila in 1972, which is considered to be one of the finest theatre productions till date, and trained a generation of theatre persons who have been instrumental in breaking new grounds in every sense of the word.
Allana said that in writing this biography, she has had the opportunity to study her father’s life and work in greater detail, albeit more dispassionately.
“Also, yet another aspect of my research included studying his artworks, leading me to curate several projects on him,” she said. “Working on these projects has helped me clarify and gain a fuller, overall perspective of what he aspired for and set out to achieve throughout his life.”
One wonders if the daughter was under any ‘pressure’, considering she was writing about such a towering personality. She confessed that unconsciously she may have felt the pressure, though her father allowed her the greatest freedom to find herself as a theatre artiste.
“Once I left NSD, he never offered any criticism of my work but was supportive of it from a distance. It was my mother, on the other hand, who took a great deal of interest in where I was heading creatively and would ask me about my work. I think my father’s attitude of a certain distance helped me to grow and develop independently,” Allana said.
Not much is known about Alkazi’s Arab lineage, but the daughter constructs it in the book by interviewing her father’s immediate siblings, the father himself, and discovering some recent material from a few academics on the Arab merchant families who had settled in India, mainly in Bombay.
“Several of my first cousins were born in Bombay and left for other countries by the late 1950s and early 1960s, staying back for a full decade after Hamed and Mariam Alkazi, my paternal grandparents, along with some of their children, had left Bombay post-Partition,” Allana recalled.
“My cousins and I went to the same school in Bombay — Cathedral. I grew up with them and around them and experienced how the Arabs lived in India, which was very unlike the way my parents lived. We lived as western-educated Bombayites and artists!” she added with a smile.
Remembering that theatre was not just a profession for Alkazi but an indispensable part of his being, Allana said: “Even at home, practical aspects of mounting productions, as well as the deeper meaning of plays and rehearsals were part and parcel of the air we breathed. As you know, our home at Vithal Court also doubled up as my father’s workspace.”
Many of his students describe Alkazi as a strict disciplinarian, but Allana remembers him as someone very kind, loving, and generous as a father. “Art was incorporated into our daily lives in a simple, organic way, becoming an enjoyable activity in which we all participated,” she recalled.
Stressing that he had a positive attitude to life and was always very optimistic, who believed that great things could be achieved in simple ways, Allana pointed out that for Alkazi it was all about hard work, focus and discipline. She also says that he had a great sense of humour and was brilliant at communicating deep, complex thoughts in an effective simple way.
Someone who has devoted her life to theatre, she feels that not only does the country need more theatre schools, but also professional theatre companies in all the languages, so that trained students can be employed.
“Well, we all know, most NSD graduates tend to gravitate to Mumbai and get absorbed in the film industry,” Allana said. “Others return to their home states and struggle to do theatre in mostly abject conditions. Surely, nearly 80 years after Independence we should have understood that the performing arts need to be subsidised in major ways.”
Stressing the importance of introducing art appreciation courses in schools, Allana said that art widens our horizons and helps us build a sensitivity towards other cultures.
Allana was quick to add, though: “Remember, appreciation is not enough … art needs to be practised. Subjects like dance, music and painting are not given the attention they deserve in any school curriculum. They are treated as peripheral subjects. We should understand that talent and skill for the arts come naturally to us Indians.”
She concluded with a timely reminder: “There are few countries such as India with our rich traditions in painting, architecture, sculpture, dance, and folk performing traditions. A majority of Indians are artistically inclined; it is in our genes. We should have special schools devoted to the arts of India, which will allow children to create and fashion art from a young age so that these traditions do not die out.”
Talking about the medium of theatre nurturing an actor, he said that the theatre arms up an actor with an acute sense of emotions, the logistics given the backstage work that every junior actor does, and the spontaneity…says Pratik Gandhi
Actor Pratik Gandhi has been deeply connected to the medium of theatre from a young age.
The actor has been a part of Gujarati theatre for the longest time and still continues to work in theatre. While he has seen monumental success with his work on the silver screen and OTT, he feels that theatre is one medium that enriches the soul of an actor.
The actor, who is currently receiving a lot of positive response to his work in the streaming movie ‘Dedh Bigha Zameen’, spoke with IANS about the craft of acting, his first love as an actor — theatre, and the language of his film.
Talking about the medium of theatre nurturing an actor, he said that the theatre arms up an actor with an acute sense of emotions, the logistics given the backstage work that every junior actor does, and the spontaneity.
He told IANS, “For an actor, they get everything from theatre. Theatre enriches the soul of an artiste, solidifies their craft and makes them spontaneous because there’s no retake on stage. Theatre is like a root, it not just keeps you grounded but also helps you to derive the nutrients to nourish your soul.”
As he climbs up the ladder of success with years of his hard work paying off, the Maslow’s hierarchy surely kicks in. Pratik wants to lead the change for theatre as he reaches the top of Maslow’s pyramid.
Pratik said that he wants the perception of theatre being a poor medium to be changed, poor not simply in terms of money but its overall perception.
He told , “I really want the perception of theatre being a not so affluent medium of exhibition to be changed. Theatre sabse ameer medium hona chaahiye (theatre should be the most affluent medium). If people are willing to pay Rs 500 for a film then they should be willing to pay Rs 1,500 for a theatre play. I feel with technological evolution reaching mind-boggling heights and information travelling at lightning speed from one part of the planet to the other, a live experience like theatre will become more exclusive.”
He then quoted an example of Covid-19 which made human touch a luxury.
He said, “During the Covid-19 pandemic, we had everything accessible, food and grocery delivery on fingertips, video calls and messages sorted for communication but, what we craved for was the human touch. Many places started the pets hugging club. Human touch is fast becoming a luxury. So, I think theatre will see a lot of changes over the period of time, and I wish to be a part of this change as a ‘give back’ to the medium.”
When asked about the particular style of speaking Hindi in ‘Dedh Bigha Zameen’, the actor shared the trick that his dialect coach told him about.
The actor said, “The kind of Hindi that has been used in ‘Dedh Bigha Zameen’ has a very melodious texture. I have many actor friends in Mumbai in cinema or in theatre who follow this style of speaking in Hindi. Even the director of the film, Pulkit speaks with the same style. So the ground was already set for me. We also had a dialect coach who told me a trick. He said that I should highlight ‘H’ in the words to set the metre and rhythm for the speech pattern.”
Interestingly, both Arjuna and Achilles encounter a certain level of non-heterosexual behaviour. Arjuna discovers the femininity within while Achilles also discovers the masculinity of patriarchal understanding, and both of them break, and that’s why they have second thoughts about fighting…reports Asian Lite News
At the heart lies a profound inquiry into the nature of heroism. Drawing parallels between iconic figures such as Arjuna from the Mahabharata and Achilles from the Iliad, the theatre production ‘He-Rose’ challenges conventional notions of heroism, inviting audiences to contemplate the interplay between vulnerability and courage.
While one may wonder how the Bhagavad Gita and Iliad come together, one of the points of any storytelling — and particularly the Indian tradition of plural storytelling — is this expansion of the unspoken.
He-Rose, a collaboration between the French school ENSATT and the Indian theatre troupe Adishakti Laboratory (Auroville), the play, being presented by The Cultural French network in India and the National School of Drama (NSD) that premiered in Lyon, France a few months ago will be staged at Tagore Theatre in Chandigarh on April 17.
Written by Nimmy Raphel and directed by Vinay Kumar of Adishakti and assisted by Amaud Guennad of ENSATT, the play depicts the tragic saga of two mythological heroes, Arjuna from Veda Vyasa’s Bhagavad Gita and Achilles from Homer’s ‘Iliad’ is about two personalities from two different cultures in a realm between glory and tragedy.
Kumar, who has been doing theatre for around three decades now says, “Why cannot two stories collide, create an argument, like two storytellers from two distinct continents, talking to each other, or exchanging notes, and just looking at the futility of war. Would they not conclude that the collateral is too much to bear? Did Yudhishthira say at the end of the war that he did not want to inherit a kingdom of widows?” he asks.
Interestingly, both Arjuna and Achilles encounter a certain level of non-heterosexual behaviour. Arjuna discovers the femininity within while Achilles also discovers the masculinity of patriarchal understanding, and both of them break, and that’s why they have second thoughts about fighting.
Stressing that war always brings out archetypes, and that is the reason why a nation and pride are all interconnected, Kumar points out that while European culture, which is primarily pegged on the ‘Iliad’ as a kind of history, consistently goes back to it, “we live in a country where myths hold significant importance”.
“While there may be other characters in the play, the spotlight is primarily on Arjuna and Achilles. The most striking point is when Arjuna does not want to fight, seeing who is on the opposite side.
“In Achilles’ case, the realisation that killing is not anymore about valour or a masculine archetype, but rather it (killing) is death. It is slow. There is slashing, cutting, killing, heaving, dismembering — and if that does not move you, then you have a problem. But the moment they both encounter their feminine side, that exact sensitivity, both these archetypal male bodies do not want to continue on the path of bloodbath,” he adds.
Considering the production derives from two major works, one wonders if there were any apprehensions in heavily reinterpreting them. “We are not looking at the notions of righteousness from everybody’s perspective. In all our plays derived from mythology, what we try to do is draw out the fact that the nature of all mythical stories is to bring a philosophical debate — which is plural. And that is pragmatically inclusive. The moment that plurality of stories goes, you lose everything. So, our plays are primarily focusing on myth as a kind of starting point for the past. The present does not teach you anything, the future does not hold anything. Only the past teaches you,” asserts Kumar.
The writer of the play, Nimmy Raphel, who has been with the theatre group for the past 23 years, insists that the entire human civilization or the very idea of human civilization is pegged on a very thin line. “Stories allow you to have a jacket to start the debate. It is a framework, and also the continuity of it.”
Adding that the characters of Arjuna and Achilles have always fascinated her, and there is a need to re-look at our notions of heroes as being heroic is not valour, she says: “Both go back to war after a pause. So then, what is the understanding that we have of human progress, the humanity that we talk about? If we were to all go and do what is our dharma, then there is no humanity, no?”
For her, the play largely talks about the fact who is benefiting, and who takes the brunt of all the catastrophe. Where do women come to war? “I do not think there is any decision-making that goes to women. They always come in the end. Yes, women and children come at the end, but they suffer the most.”
Admitting that it is the utopia that we are thinking about, Raphel stresses, “I do not think the responsibility of the world lies in the artist. Because in that case, we would have been politicians.”
The play doesn’t limit itself to its technical uniqueness but also promises to challenge the audience by addressing a wide range of subjects covered from mental illness to privacy erosion to memory atrophy that cloud modern-day lifestyles…reports Asian Lite News
The National Centre for the Performing Arts, Mumbai present the first-ever professional production of Love and Information, in collaboration with an award-winning director Mohit Takalkar. Written in 2012 by celebrated British playwright Caryl Churchill, Love & Information is a creative and experimental presentation that delves into the contemporary lives of the present society through an unconventional yet immersive theatrical experience.
The play is set to invite the audience to the Experimental Theatre from April 25 – 29.
Written as a series of over 50 disparate scenes divided into seven sections, the play is an exercise in reimagining the medium. The disruptive format of the script provides no stage directions, no character attributions and no notes for performance. Additionally, the play follows a non-linear narrative and is devoid of central characters, emphasizing the cumulative impact of diverse, brief scenes ranging from seconds to minutes. The scenes are of varying lengths and the structure allows for the viewer to narrow in on a world oversaturated with information. The vignettes mirror the rapid pace of channel-hopping or scrolling through social media, highlighting potential implications for relationships in an era dominated by instant gratification and short attention spans.
The play doesn’t limit itself to its technical uniqueness but also promises to challenge the audience by addressing a wide range of subjects covered from mental illness to privacy erosion to memory atrophy that cloud modern-day lifestyles.
Speaking about the first-ever professional production of Love and Information, Bruce Guthrie, Head, of Theatre and Films, NCPA, expressed, “The NCPA is delighted to welcome Mohit Takalkar to direct Love & Information by Carol Churchill. She is a true trailblazing playwright in every sense of the word and is known as something of a disruptor of English theatre. She rarely, if ever, talks about her work, where the inspiration comes from and why she does what she does. She constantly reinvents her style as a playwright and explores what more theatre can be. It is a matter of pride and joy to pull off this combination of two extraordinary artistes – writer and director to realise this quite extraordinary play. We hope that the audience will come with a curious mind and an open heart as we continue to create theatre that challenges and inspires.”
The ensemble cast comprises Ashish Mehta, Dusha Madhav, Kashish Saluja, Lovleen Misra, Mahesh Saini, Mallika Singh Hanspal, Mrinmayee Godbole, Prajesh Kashyap, Rachel D’souza, Rytasha Rathore, Siddhesh Dhuri, who will be performing around 50 scenes in rotation. Love and Information most definitely promises to be a must-attend theatrical show this summer.
A star-studded comedy line-up from The Habitat’s daily All Star Stand-up Comedy show is now at an auditorium near you. Here is the perfect opportunity to experience laughter like never before.
What: Stand-up Comedy
Where: Godrej Dance Theatre
When: Sunday, 7th April – 5.00 pm & 7.30 pm
Duration: 90 mins
Language: English/Hindi
Age Suitability: 18+
Performed by: Shreeja Chaturvedi, Mohd Hussain, Shashwat Maheshwari, Sumit Sourav, Siddharth Dudeja
Reality Check – Ayena Mirror | An NCPA Presentation in collaboration with Cinema Collective
NCPA has revived the Reality Check film series, which was started in 2014, to promote and encourage documentary filmmakers in India, whose work reflects life and culture in the country today in a provocative blend of creativity and integrity.
A momentary act of revenge transformed the lives of two young Indian women forever. After surviving an acid attack while carrying the scars of human brutality on their face, both Ritu and Faraha now have to navigate a sea of odd currents daily. Strangely enough, Ritu’s scars also brought her fame. She occasionally finds herself talking on television, modelling at fashion events, or even featuring in a Bollywood film. Still, she often feels lonely. She wants to be loved and embraces an ambiguous relationship with a fellow female acid attack survivor. Faraha, on the other hand, has come to terms with her post-attack singlehood and her new lease of life. As she begins to enjoy freedom and independence, a desire to become a mother slowly brews inside her.
What: Documentary Film Screening
Where: Little Theatre
When: April 11, 6.30 pm
Language: Hindi/Urdu with English subtitles
Duration: 1 Hr 10 mins
Entry: on a first-come-first-served basis
The Siddhus of Upper Juhu | An NCPA Presentation in collaboration with Rage Productions
Balvinder Siddhu, also known as Bubbles, a 50-year-old well-paid financial executive, and his loyal Parsi wife, Behroze, live on the 14th floor of a typical modern Upper Juhu high-rise called Sea View Towers. Despite having poured their life savings into this 2.5 BHK flat in Mumbai, everything civil and civic seems to go wrong.
Qisse aur Kavitaayein | An NCPA Off-Stage Presentation
We bring to you a unique amalgamation of poetry infused with music. Stories about life, love and laughter are sure to move you and bring you an experience to remember amidst nature at the beautiful Tata Gardens at the NCPA.
Boasting of a line-up that includes the country’s most popular poets and storytellers such as Helly Shah, Mehak Mirza Prabhu, Rakesh Tiwari, Ishpreet Balbir and the newest voice on the circuit Aanchal Anita Dhara, we bring to you an eclectic mix of your all-time favourites and fresh voices.
Where: Tata Gardens
When: Saturday, 13th April – 7 pm
Language: Hindi
Duration: 1 Hr 30 mins
Age Suitability: 15+
Curated by Priya Malik
Chanakya | An NCPA Presentation in collaboration with Dharmajam Production
Chanakya was the greatest statesman, a visionary and arguably the first patriot of the country, who single-handedly carved India (as we know it today) out of the chaos of infighting and exploitation by the regional kings of the time. Love for one’s society and nation is the greatest virtue, nationalism elevates an individual from his mundane existence and improves his quality of life. Patriotism binds an individual to his society and inspires the strong to work towards the betterment of the weak. The play Chanakya brings the man who advocated these sayings to live once again but in the modern context.
Main Pal Do Pal Ka Shayar Hoon | An NCPA Presentation in collaboration with The Hoshruba Repertory & Art for Causes
The play is based on the life of Sahir Ludhianvi. Sahir Ludhianvi was one of the iconic poets & lyricists of Urdu literature and Hindi cinema respectively in the 20th century. Hoshruba Repertory in collaboration with the Art for Causes brings alive his life in a semi-autobiographical theatrical presentation. The play attempts to bring a 360-degree perspective on his life interspersed with some of his iconic songs and poems. Co-written by Ali Husain Mir (Writer of the film Mee Raqsam, and Himanshu Bajpai, the well-known. “Aao Ke Koi Khwaab Bunein” Composed by Aneesh Pradhan and First Sung by Shubha Mudgal
What: Hindustani Play
Where: Tata Theatre
When: April 20, 7.00 pm
Duration: 2 Hrs
Writers: Mir Ali Husain & Himanshu Bajpai
Director: Danish Husain
Actors: Danish Husain, Vrinda Vaid ‘Hayat’, Shantanu Herlekar, Srijonee Bhattacharjee, Siddarth N. Padiyar & Donald Krist
Dekh Behen Part Two | An NCPA Presentation in collaboration with Akvarious Productions
Five years have passed since the events of the first play, and Kanupriya aka Kannu is getting married in Jaipur. It is a vegetarian, alcohol-free wedding, filled with orthodox in-laws and judgmental guests. But the gang of girls is back and committed to having a good time. They’re older, but probably not wiser. Retaining all the fun of the first, and dealing with new and pertinent issues, this sequel to the Akvarious superhit is another crazy celebration of female friendship.
Stand up with D Girls | An NCPA Off-Stage Presentation in collaboration with Being Association.
In today’s time, when standing up for an issue and even doing stand-up comedy is difficult, this solo is a satirical take on both situations. We have always been told that our behaviour decides what type of girl we are. It’s very important to know the type because that decides our fate. Everything is already decided for us, yet you get to watch shocking news about us every day! Why! How! This solo is a journey through those types, exploring great literature and poems in between, which tell us a tale of “D’ girls. By intertwining the shadows and lights, hope and hopelessness in Ritu and Faraha’s life, Ayena becomes a mirror where we can also see our reflections.
Where: Godrej Dance Theatre
When: April 20, 7.30 pm
Langauge: Hindi and English
Duration: 1 Hr 25 min
Written, directed & performed by Rasika Agashe
Producer & Director: Siddhant Sarin (The Films)
The film screenings will be followed by a post-film discussion.
Cast Off All Shame | An NCPA Presentation in collaboration with Story Circus
Cast Off All Shame begins with the spirit of a Bhakti poet Janabai coming alive and taking over a radio show as an RJ. She then talks to various women callers who reach out to her with their everyday issues of gender and patriarchy. Thus the solo theatre piece consists of a series of vignettes – some hilarious, some gut-wrenching about Indian women from a variety of classes and settings. Their situations are illuminated by women Bhakti poets- Janabai, Lal Ded, Akka Mahadevi, Avvaiyyar, Soyarabai- whose poems appear as ‘characters’ in this show. Punctuated with soulful poetry and stories, Cast Off All Shame remains an entertaining, engaging and empowering experience for everyone.
What: Play
Where: Godrej Dance Theatre
When: April 21, 6.00 pm
Language: English & Hindi
Duration: 80 mins
Written, directed, and performed by Ulka Mayur
Red | An NCPA Presentation in collaboration with Water Lily
In RED, we witness the renowned painter Mark Rothko at the pinnacle of his creativity but struggling through the creation of a series of large paintings, commissioned to feature in New York’s brand-new Four Seasons Restaurant. Set in the late 1950’s, and based on a series of real events, Red takes a compelling look at the ever-changing relationship between an artist and his creations.
What: Play
Where: Experimental Theatre
When: April 21, 4.30 pm & 7 pm
Language: English
Duration: 90 mins
Age Suitability: 12+
Writer: John Logan
Director: Daniel Owen Dsouza
Cast: Vikram Kapadia & Daniel Owen Dsouza
Love and Information | An NCPA production in association with Aasakta Kalamanch
How do we look at ourselves and others, how do we make connections, and how do we love? These are some of the questions that are thrown up by Caryl Churchill’s Love and Information, which challenges traditional theatrical norms with its unconventional structure. Comprising over fifty scenes in seven sections, the play follows a non-linear narrative and is devoid of central characters, emphasizing the cumulative impact of diverse, brief scenes ranging from seconds to minutes.
The vignettes mirror the rapid pace of channel-hopping or scrolling through social media, highlighting potential implications for relationships in an era dominated by instant gratification and short attention spans. The play’s kaleidoscopic structure touches on an array of themes such as memory atrophy, privacy erosion, alienation from the self and the decay of genuine emotion. Through its experimental form and astute observations, written in 2012, “Love and Information” the play speaks directly to the way we make meaning of our lives and existence when there is an over-exposure and saturation of different kinds of information
Where: Experimental Theatre
When: April 25 – 28
Language: English Hindi Marathi, Haryanvi, Gujarati
While the proverbial glass ceiling was broken by women like Norah Richards, Sheila Bhatia and Shanta Gandhi, Chowdhry observes that the ones ‘created’ by men were the women’s versions of how men looked at the gender…writes Sukant Deepak
She remembers the time when women were only actors, and never in the decision-making machinery like the director’s chair. She smiles that she had no expectations from herself, neither the theatre world from her.
Theatre director Neelam Mansingh Chowdhry, recipient of the Padma Shri and Sangeet Natak Akademi honours, who studied at the National School of Drama (NSD) under the legendary Ebrahim Alkazi, recalls, “One started working, slowly and built up her skill set. As women directors, we had a unique space to us, considering we had nothing to lose as no one expected anything. We could break all norms, approach the play in different ways, and experiment as much as we wanted to.”
She recalls that while there were few women directors initially, a certain silent revolution happened and directors like Anuradha Kapur, Maya Krishna Rao, Usha Ganguli, Anamika Haksar, Kirti Jain and Tripurari Sharma emerged.
“And all of us worked in our own spaces and unique styles. A new language started emerging. Of course, we had a familiar family of ideas.”
While the proverbial glass ceiling was broken by women like Norah Richards, Sheila Bhatia and Shanta Gandhi, Chowdhry observes that the ones ‘created’ by men were the women’s versions of how men looked at the gender.
“While Sheila Bhatia and Vijaya Mehta did excellent work, however, they could not break the structures that had long been embedded,” points this Professor Emeritus at Punjab University, whose well-known plays include ‘Kitchen Katha’, ‘The Suit’, ‘Yerma’, ‘Nagamandala’, ‘The Mad Woman of Chaillot’, ‘Little Eyolf’, ‘Bitter Fruit’, ‘Naked Voices’, ‘Stree Patra’, ‘Gumm Hai’ and ‘Black Box’
In fact, Chowdhry’s latest ‘Hayavadana’, written by late Girish Karnad will be staged during the upcoming META in the national capital. It is after almost more than a decade that she is working with a bound script.
The director, known for her devised productions who has staged the same playwright’s ‘Nagmandala’ thrice has made certain changes in ‘Hayavadana’.
“In the end, the woman asks whose pyre would I commit sati after both the men die. I could not relate to this in 1973, how do you expect me to in 2024? And I am sure Karnad would have welcomed the change. Also, I wanted to make the play more playful. We have such a set image of Padmini and Devdutt. It was important to break that and look at the characters with a fresh perspective. I wanted to animate them, pull them into the now.”
Stressing that the reason she prefers devised productions — not work with a text within a definite structure — beginning, middle, and end — is because she had done enough of that and likes to explore newer realms by pulling texts, images and experiences from various sources.
“This way one reads more from a story. Bringing contradictory elements together helps to imagine newer realities and meanings. Of course, it is always a struggle and not just an adventure. But then art is always hard.”
On the third day, ‘Ek Cup Chai,’ a riveting one-woman play by Rajesh Tiwari, delved into the intricate struggles of women. Adapted from Dr. Kiran Singh’s story, it promised a thought-provoking experience…reports Asian Lite News
Sahitya Kala Parishad, Delhi Government’s Art and Cultural Wing, delighted theatre enthusiasts with the Bharatmuni Rang Utsav, a four-day extravaganza showcasing diverse solo and duet acts.
Opening night featured Tapobrati Das Samaddar’s ‘Mrija,’ a 3067 BCE drama. ‘Udyog Parva’ delves into King Yayati’s daughter’s relationships, challenging customs from 5,000 years ago, echoing modern women’s struggles. Following this was ‘Pyaaz Ke Phool,’ a compelling love triangle by Priyam Jani, directed by Sakshi Sunil Chauhan. The tale delves into the complexities of love as two women vie for Govind’s affections, revealing conflicted hearts and a cherished onion flower. The evening closed with ‘Uske Sath’ (A Truth of a Girl), a powerful play by Alok Shukla delving into a true 1997 Mumbai incident of a girl’s journey from an orphanage to giving birth.
On Day Two, ‘Espresso’ by Somyabrat Bhattacharya, directed by Shilpi Marwaha, unveiled societal disparities in a poignant coffee-scented encounter. This was followed by ‘Bebaak Manto,’ directed by Anil Sharma, delved into Sugandhi’s tumultuous journey as a compassionate yet exploited prostitute. Evening continued with ‘Bijuka,’ a creation by Satyajit Ray and directed by Rajesh Bali, intricately weaved an emotionally charged narrative around Mriganko Babu and his mistreated servant, Abhiram. The night concluded with ‘Bimb,’ creatively adapting Vijaydaan Detha’s ‘Raazinama,’ exploring a village boy’s pursuit of education and unraveling societal complexities.
On the third day, ‘Ek Cup Chai,’ a riveting one-woman play by Rajesh Tiwari, delved into the intricate struggles of women. Adapted from Dr. Kiran Singh’s story, it promised a thought-provoking experience. Following was ‘Dhoop Ka Ek Tukda,’ directed by Pooja Dhiyani, weaving an intriguing tale of self-discovery and relationships. The play, narrated by a cheerful woman to an old man, explores life’s highs and lows, offering a unique perspective. Evening continued with ‘Baarish’ by Vijay Shrivastava encapsulates 1950s India, exploring Tanveer’s love at first sight with Parveen. The narrative addresses societal constraints like background, caste, age, and status in a 30s glimpse. The night ended with ‘Jebkatra,’ directed by Javed Sameer, portraying Kashi’s transformative journey. After stealing Bimla’s bag, Kashi sacrifices fingers for goodness, exploring redemption and personal transformation.
The grand finale commenced with ‘Dil Ki Duniya’ by Padmashri Ismat Chughtai. Portraying pre-independence female tales, it criticizes the 1930s constraints on women’s empowerment, shedding light on child marriage’s impact and emphasizing the urgent need for education. Aryashree Arya, a seasoned Delhi-based theatre practitioner, adds depth to the performance. Following was ‘Last Performance,’ an Anton Chekhov creation directed by Avinash Tiwari.
Unveiling Svietlovidov’s tragic life, it portrays themes of despair and failure. A swan song, symbolizing a final performance or gesture before death or retirement, the play navigates serious themes. Avinash Tiwari, a highly versatile Delhi-born actor, adds depth with his impressive theatre talent. The evening culminates with ‘Bojh,’ written by Pawan Jha and directed by Shiva Kunder. Delving into societal traditions causing mental frustration, the play explores unexpected events in an elite young man’s life, critiquing issues like mismatched marriages and child marriage, portraying the consequences of excessive frustration.
The theatre segment offered a wide range encompassing many foundations. From war, mental health, and alienation to LGBT+ themes…reports Asian Lite News
He says the guiding thought was ensuring unusual experiences, doing formal things in informal spaces, and vice-versa. For him, it was important to look at newer groups from across the country, and how their work is smashing ‘order’, and conveying the unsaid.
Theatre director Quasar Thakore Padamsee, curator of the theatre segment at the recently concluded Serendipity Arts Festival-2023 in Goa, tells IANS that it was important not to play safe and present the form in multiple and novel ways.
Padamsee, who helmed the curation before as well, says that in the beginning one mostly tries to capture the greatest hits. “However, over some time, we have achieved a lot and the confidence to take greater risks and the ambition has grown. We are constantly finding things that can be done differently. This is also one of the few festivals that has such a good relationship with space. There is so much cross-pollinating between art forms and a very interesting merger happens. It is very liberating to witness how art forms are shifting and coming together in a modern context,” he says about the festival that witnessed 150 events, works by over 300 artists, and 15 commissioned projects.
The theatre segment offered a wide range encompassing many foundations. From war, mental health, and alienation to LGBT+ themes.
The play ‘Jump’, directed and written by Maneesh Verma was performed on the terrace of a building, while Vikram Phukan’s ‘Postcards from Goa’ was ‘staged’ on a walking trail. ‘Afganisthan is Not Funny’ was brought forth using photographs while Tim Supple’s ‘Lives of Clay’, performed by Vidya Thirunarayan was experienced in a garden. ‘Aur Theatre Karo’ by Gopal Das was a collection of songs he had composed for the stage over decades.
The curator, who insisted that all participating groups underwent workshops to create more and new roots in the space for exchange of ideas adds, “A young theatre artist is excited to discuss things. Such festivals open doors about things that they might not have access to.”
Talk to Padamsee, who has directed and produced over 20 plays with his Mumbai-based theatre company QTP, about corporate funding in theatre and he laments that while 15-20 years back, the corporate world wanted to be seen as ‘giving’, but now everything is about sales. “Believe it or not, sometimes they even ask how their product will be placed on the stage. Everything has become just about sales, sadly. Also, most corporates will not touch a play that is difficult or experimental. Precisely why festivals are extremely important for theatre groups so they can tell the stories in the ways they want to.”
Even as several unique productions have been coming from small towns in the past few years, the director admits that are more connected to what is happening around them. “To be universal, you have to be connected. The experiences of major cities are becoming more similar…”
Even as his theatre company turns 25 next year, Padamsee wants to shut down all the old plays in the first half of the year. “We will be running one of our newer shows called ‘Lungs’ which is about a couple who are deliberating whether to bring a child into the world or not because it will add to the carbon footprint,” he concludes.
