Cloud Gate Dance Theatre of Taiwan returns to Sadler’s Wells Theatre this autumn with the UK premiere of Lunar Halo, a collaboration with Icelandic post-rock band Sigur Rós, choreographed by the company’s Artistic Director Cheng Tsung-lung. The company, founded in 1973, celebrates its 50th anniversary this year and these are the first UK performances since 13 Tongues/Dust in 2020. Preview Feature by columnist Riccha Grrover for Asian Lite International.
Cheng took over from company founder Lin Hwai-Min in 2020, and this is the 2nd time he has toured the company to Sadler’s Wells. As a child, he sold slippers on the streets of Taipei. His experiences of street life and folk and religious cultures have shaped his choreographic style, known for its vivid engagement with the richness and diversity of human experience.
Cheng first observed a lunar halo – a sparkling ring around the moon – in the sky over Iceland. The phenomenon is said to predict an impending storm and, on a deeper level, forebodes a time of considerable change.
In Lunar Halo, Cheng explores the changes that are shaping the world, in particular our reliance on new technology. Performing to an other-worldly soundtrack by Sigur Rós, the dancers interact with each other – in pairs, groups, or as an ensemble in front of huge LED screens filled with moving shapes, colours, and images. The soundscape includes music taken from the band’s back catalogue, which has been twisted, bent, broken, and added to, specially for this performance. Sigur Rós released an LP to accompany the performance called 22° Lunar Halo.
Visual design and direction is by Jam Wu, lighting design is by Shen Po-hung, video design is by Ethan Wang, and costume design is by Chen Shao-yen.
A post-rock titan, Sigur Rós has been renowned for crafting ethereal soundscapes with melodic, classical, experimental, and minimalist elements and has received many accolades since its debut in 1994. Released in 1998, the band’s second album, ‘Ágætis Byrjun’ is still deemed “the last great album of the 20th Century.” by Q Magazine. They are well known for the iconic song ‘Hoppípolla’ (‘Jumping into Puddles’) which featured in the BBC’s Planet Earth and Planet Earth Two.
Cloud Gate Artistic Director Cheng Tsung-lung said, “Sadler’s Wells stage has a magical power that has always drawn me into the world of dance. Following the pandemic, I’m really looking forward to visiting London in our 50th anniversary year, and I hope that Lunar Halo shows the audience a different side to Cloud Gate.”
The festival is curated by Padma Shri recipient Mohammad Ali Baig as a tribute to his legendary father, theatre doyen Qadir Ali Baig…reports Asian Lite News
The 18th edition of the prestigious Qadir Ali Baig Theatre Festival is beginning here on October 5.
The five-day theatre festival will be held at iconic venues of Salar Jung Museum and Taramati Baradari.
This year’s plays feature writing by Ismat Chughtai, German playwright Sibylle Berg and others and themes such as human relationships, the history of dissent, a chapter from the Ramayana, greed and the love for acting.
Artistes who will be seen in action include Anjan Srivastav, Masood Akhtar, Mita Vashisht, Sunil Shanbag, Ayesha Raza, Anubha Fatehpuria, Dr. Dalavai Kullayappa and more from Mumbai, Delhi, Kolkata and Anantapur.
According to the organisers, genres are diverse, spanning traditional puppet theatre, adaptations, biography, poetry, dance and satire. The festival will also feature free master classes by Mohammad Ali Baig, Anjan Srivastav and Sunil Shanbag on topics such as theatre management, the Indian method of acting and how life informs art.
The festival is curated by Padma Shri recipient Mohammad Ali Baig as a tribute to his legendary father, theatre doyen Qadir Ali Baig.
The Festival is being presented in association with Telangana Tourism, Salar Jung Museum, Goethe-Zentrum Hyderabad and is headlined by the Aparna Group.
According to Mohammad Ali Baig, over the past 18 years, Hyderabad’s Qadir Ali Baig Theatre Festival which has hosted the virtual who’s who of Indian and global theatre has come to be regarded as one of the foremost theatre assemblies in the subcontinent, at the same time giving an impetus to new work from upcoming young artistes of different cities.
From classical to contemporary theatre, physical and dance theatre, puppet and circus theatre, bio-plays to solo performances, mythological and avant-garde, intimate and spectacle, musicals and storytelling, historical pageants to social dramas, the festival repertoire has presented a wide bouquet to theatre aficionados of the south.
While thespians like Habib Tanvir, Usha Ganguli, Tom Alter, Surekha Sikri and Jalabala Vaidya had their last stage appearances at this national assembly, Alyque Padamsee, Pankaj Kapur and Kulbhushan Kharbanda made their comebacks to theatre on this stage.
Leading actors like Naseeruddin Shah, Shabana Azmi and Anupam Kher have paid annual tributes to Qadir Ali Baig.
“The atmosphere in the rehearsal room was brilliant. It was lovely to be around them and there were things that happened to people but the kind of joy that was in the room was unbelievable. The level which people share, it was an absolute joy. It is a comedy and there are so many different ideas. “…reports Asian Lite News
Long back, he had seen the film ’To Be or Not To Be’, a textbook movie shown at all film schools which is about a Polish theatre group struggling to survive, trying to escape and fool Hitler and his people. The film made a huge impact on theatre director Atul Kumar, and thus was born the play ‘Baaghi Albele’.
“Many artists including myself feel censored and attacked. A few of my close friends have also suffered and it felt like the right time to attempt it. So I approached the writer Nick Witbee and he allowed us to perform it. One is always trying to negotiate how to put out your views — directly, metaphorically and poetically. The play is our attempt to underline, through performance, the relevance of art and artists to the healthy growth of a nation. ‘Baaghi Albele’, is daring and brave and I am proud of it,” he told.
In times, when getting ‘hurt’ seems to be the easiest thing to do — stand-up comedy, a film’s name, and a very shallow and linear reading of the ‘culture’, he hopes people become stronger every time they are silenced. “There have been places where theatre groups have performed the same play where a group member was killed. I admire such hearts of steel. I just pray we develop multiple ways of fighting back.”
This is Kumar’s first production in Punjabi and he is set to bring it to Chandigarh, Jalandhar and Amritsar. The director, who grew up in Old Delhi amid Punjabis, understands the language well. When he decided to adapt it to an Indian situation, he zeroed in on this language as it has a joie de vivre. “Punjabis have always fought against oppression and been a part of so many revolutions,” he asserts.
“The atmosphere in the rehearsal room was brilliant. It was lovely to be around them and there were things that happened to people but the kind of joy that was in the room was unbelievable. The level which people share, it was an absolute joy. It is a comedy and there are so many different ideas. “
Kumar rejects the narrative that many major corporates are coming forward to support theatre. Adding that neither the government nor business houses are doing anything substantial for this art form, he laments that it is a constant struggle and plays that do get sponsorships mostly manage that through personal relations. “Yes, there are some corporate’ backed festivals, but they are careful about the content that goes out in the world so that their name does get attached to anything controversial. Frankly, the most important theatre festival is the one that happens in Kerala which is completely state-funded. And that is autonomous and they get international and national. And if people are putting crores and lakhs then they do want their share back.”
Kumar, who trained in Kathakali and Kalaripayattu for several years says the same has had a huge impact on his psycho-physical formation as an actor, not to mention how these forms contributed to his fitness. “Although I don’t practice those art forms now they have had an impact on my creativity too, and I do many things that are not in the genre of theatre and not everyday stories. It helped me to delve into that world and allowed me to bring it into the contemporary world.”
Now seen regularly on OTT and in films, he smiles, he has to make some money too. “My kids are growing up fast. You will see me in more movies and series.”
The director, who started an international residency in Kamshet 12 years back where artists from across the world come to perform and hold workshops, adds, “We hold festivals and children’s workshops there too, besides performances at local schools. It is completely organic and blends itself beautifully with all kinds of art.”
Wanting to try out Harold Pinter’s ‘Mountain Language’ and do it in 13 different languages in 13 cities, he also wants to explore Charlie Chaplin’s biography. “I am also thinking of taking a long sabbatical… I have done theatre for so long, I do want to try something else too.”
Candlelight India will travel to Mumbai and Bangalore initially, with more cities in the pipeline this year. Candlelight India’s first concert will be at Mumbai’s Royal Opera House on October 13…reports Asian Lite News
The team that brought the immersive, multimedia experience Van Gogh 360 to India, will now introduce Indian audiences to another wildly popular social experience, Candlelight India – concerts by candlelight.
Concerts by candlelight as a concept invites a wider audience, who might never have considered attending a classical music concert, to take an interest in the most emblematic works of renowned pop artists and listen to their greatest hits in a different way.
Candlelight India will travel to Mumbai and Bangalore initially, with more cities in the pipeline this year. Candlelight India’s first concert will be at Mumbai’s Royal Opera House on October 13.
“Indian audiences have a voracious appetite for entertainment across culture, art, music and IPs such as Candlelight India – concerts by candlelight – is going to quickly become one of those must-do activities, just like Van Gogh 360°,” says Roma Makkad, spokesperson Festival House India. “It combines what people love with something new, and we are excited to take this to cities across India,” she adds.
What is special about concerts by candlelight?
Around the world, such concerts have included tributes to iconic artists as well as programmes devoted to K-Pop, film soundtracks and other themes. They can range from small, intimate gatherings to large-scale events in famous venues and landmarks that form part of a city’s cultural heritage, like the Royal Opera House in Mumbai.
In India, Candlelight India concerts will pay tribute to iconic artists like Taylor Swift, QUEEN, Coldplay among others.
Whether it’s Taylor Swift’s ‘Love Story’, Coldplay’s “Viva La Vida,” Queen’s ‘Bohemian Rhapsody’ or ABBA’s ‘Gimme! Gimme! Gimme!’, a string quartet – swathed in the amber glow of hundreds of (flameless) candles – will deliver these fan favourites with a unique twist.
This multisensory musical experience is as much about the sounds that are produced in the space as well as the visually stunning, architecturally beautiful buildings lit by candlelight. The ambient illumination creates an unrivaled atmosphere that breathes life into each venue. Bathed in the gentle flicker of candlelight, these settings become even more stunning.
Imagined as a social experience to be enjoyed by all age groups, there are a few interesting features about candlelight concerts. There is no bar or merch stall at the venue. Pictures and videos are permitted before the concert begins and during a designated period during the concert. At all other times, you are expected to keep your phone away.
Domonic Ramsden, Keir Oglivy (Boy), Aimee McGolderick and Millie Hikasa (Lettie) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
Based on a best-selling novel by Neil Gaiman, adapted by Joel Horwood and directed by Katy Rudd, this thrilling adventure of fantasy, myth and friendship, will play at the Noël Coward Theatre from 11 October until 25 November 2023. Following a highly acclaimed tour across the UK and Ireland, the National Theatre’s smash-hit production of The Ocean at the End of the Lane will return to London’s West End for a strictly limited 7-week run this autumn. A preview by west-end theatre columnist Riccha Grrover for Asian Lite International
This first major stage adaptation of Neil Gaiman’s work blends magic with memory in a tour-de-force of storytelling that takes audiences on an epic journey to a childhood once forgotten and the darkness that lurks at the very edge of it. Currently on tour, visiting 29 towns and cities across the UK and Ireland, the full cast will transfer with the show into London’s West End.
Charlie Brooks (Ursula) and Keir Ogilvy (Boy) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
This year marks 10 years since Neil Gaiman’s best-selling novel, The Ocean at the End of the Lane,was first published. The novel won Book of the Year at 2013 National Book Awards and has sold over 1.5 million copies worldwide.
Finty Williams (Old Mrs Hempstock) and Millie Hikasa (Lettie) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
The Ocean at the End of the Lane production received its world premiere at the National Theatre in 2019. It made its West End debut at the Duke of York’s Theatre in 2021.
Writer Neil Gaiman said, “10 years since my novel was first published The Ocean at the End of the Lane won lots of awards and people loved it, then the National Theatre turned it into the most amazing play. I am thrilled, overjoyed and absolutely delighted that this glorious adaptation of my book is going to be returning to the West End on St Martin’s Lane. It makes audiences laugh and cry and wonder. If you wanted to see it, now is your chance.”
The cast of The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
National Theatre Director, Rufus Norris said: “Audiences across the UK and Ireland have been immensely enjoying this beautiful story from Neil Gaiman’s incredible imagination for the last seven months. We are so pleased that this magical production of The Ocean at the End of the Lane, first created by Joel Horwood, Katy Rudd and their formidable creative team for our Dorfman Theatre, continues its wonderful journey, delighting audiences of all ages.”
Millie Hikasa (Lettie) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
The 17-strong ensemble cast are: Charlie Brooks (Ursula), Daniel Cornish (alternate Boy), Trevor Fox(Dad), Emma-Jane Goodwin (ensemble/understudy), Paolo Guidi (ensemble), Millie Hikasa (Lettie Hempstock), Lewis Howard (ensemble/understudy), Kemi-Bo Jacobs (Ginnie Hempstock), Jasmeen James (ensemble/understudy), Ronnie Lee (ensemble), Aimee McGoldrick (ensemble), Laurie Ogden (Sis), Keir Ogilvy (Boy), Domonic Ramsden (ensemble), Joe Rawlinson-Hunt (ensemble/understudy), Risha Silvera (ensemble/understudy) and Finty Williams (Old Mrs Hempstock).
Finty Williams (Old Mrs Hempstock) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
The award-winning creative team includes set designer, Fly Davis; costume and puppet designer, Samuel Wyer; movement director, Steven Hoggett; composer, Jherek Bischoff; lighting designer, Paule Constable; sound designer, Ian Dickinson; magic and illusions director and designer, Jamie Harrison; puppetry director, Finn Caldwell and casting director, Naomi Downham. The associate creative team includes associate director, Sophie Dillon Moniram; associate set designer, Tim Blazdell; associate movement director, Jess Williams; associate lighting designers, Rob Casey (for Ammonite) and Tom Turner; associate sound designer, Chris Reid; associate magic and illusions director, John Bulleid; and associate puppetry director, Gareth Aled.
Millie Hikasa (Lettie), Keir Ogilvy (Boy) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
Neil Gaiman is known for his graphic novels, including The Sandman series (a major new Netflix series which in its first 10 days was watched for over 198 million hours by audiences around the world); his novels for adults and children including Stardust, Coraline, and The Graveyard Book; and multiple film and television projects including Good Omens (season 2 is due to appear on Amazon Prime from 28 July) and Anansi Boys.
Finty Williams (Old Mrs Hempstock) and Kemi-Bo Jacobs (Ginnie) in The Ocean at the End of the Lane. c. Brinkhoff-Moegenburg
The Ocean at the End of the Lane is currently on a 39-week UK and Ireland Tour until 7 October before it transfers to the Noël Coward Theatre.
Millie Hikasa (Lettie) and Keir Ogilvy (Boy) in The Ocean at the End of the Lane. c. Brinkhoff-MoegenburgLaurie Ogden (Sis), Charlie Brooks (Ursula) and Trevor Fox (Dad) in The Ocean at the End of the Lane. Credit Pamela RaithKeir Ogilvy (Boy), Millie Hikasa (Lettie), Kemi-Bo Jacobs (Ginnie) and the cast of The Ocean at the End of the Lane. c. Brinkhoff-MoegenburgKeir Ogilvy (Boy), Millie Hikasa (Lettie) and the cast of The Ocean at the End of the Lane. c. Brinkhoff-MoegenburgKeir Ogilvy (Boy), Finty Williams (Old Mrs Hempstock) and Millie Hikasa (Lettie) Finty Williams (Old Mrs Hempstock) and Trevor Fox (Dad)
THE NATIONAL THEATRE’S HIT SOLD-OUT PRODUCTION OF DEAR ENGLAND, BY JAMES GRAHAM, TRANSFERS TO LONDON’S WEST END FOR A STRICTLY LIMITED 14-WEEK RUN, FROM 9 OCTOBER 2023. A preview by west-end theatre columnist Riccha Grrover for Asian Lite International
The National Theatre’s critically acclaimed, production of Dear England that will transfer to the Prince Edward Theatre is a play by James Graham, directed by Rupert Goold, which tells the story of the England men’s football team under Gareth Southgate.
Dear England cast at the National Theatre. Photo by Marc Brenner
It’s time to change the game. The country that gave the world football has since delivered a painful pattern of loss. Why can’t England’s men win at their own game? With the worst track record for penalties in the world, England manager Gareth Southgate knows he needs to open his mind and face up to the years of hurt to take team and country back to the promised land.
Dear England cast at the National Theatre. Photo by Marc Brenner
Commissioned by the National Theatre, Dear England was developed with the theatre’s New Work department and had its world premiere in the Olivier theatre on 20 June 2023.
National Theatre Director and Chief Executive, Rufus Norris said: “We’re delighted to be transferring Dear England to the Prince Edward Theatre. James’s brilliant play takes the topic of football and uses it as a fascinating lens on English identity, leadership, flawed masculinity, and how we see ourselves and are seen on a very different world stage. The production has been playing to packed houses all summer creating an electrifying buzz in the auditorium, with Joseph Fiennes’ pitch-perfect portrayal of Gareth Southgate. We’re so pleased that Dear England is joining the roster of NT productions transferring to the West End this year, and we’re thrilled that there will now be even more opportunities for new audiences to experience this show.”
Joseph Fiennes (Gareth Southgate) and Dear England cast at the National Theatre. Photo by Marc Brenner
Following their acclaimed productions of Tammy Faye and Ink at the Almeida Theatre, writer James Graham (Best of Enemies, Young Vic; Sherwood, BBC) has reunited with director Rupert Goold(Spring Awakening, Almeida Theatre; Judy, 20th Century Fox) for this gripping examination of both nation and game.
James Graham, writer of Dear England at the National Theatre. Photo by Johan Persson
Playwright James Graham said:
“To put the National Game on the stage of the National Theatre has been an utter dream and, in particular, to see the subject matter draw in new audiences to watch a play. It fills me with such excitement and joy to be bringing Rupert’s euphoric and entertaining production to the West End, with all its incredible movement and music and – what seems to be, for audiences so far – a deeply moving story inspired by the incredible journey of the men’s England football team.”
Rupert Goold (Director) in rehearsal for Dear England at the National Theatre. Photo by Marc Brenner
Director Rupert Goold said:
“I have thoroughly loved making Dear England with James, at the National Theatre. We have an incredible team of artists and actors and it’s been a joy to see audiences so engaged with this production, many of whom were young people visiting theatre for the first time. I can’t wait to transfer it to the West End and give even more people the opportunity to experience this brilliant play.”
Joseph Fiennes. Photo by Gary William Ogle
Joseph Fiennes (The Handmaid’s Tale, Hulu; The Mother, Netflix) will reprise his role as Gareth Southgate, with further casting to be announced. Goold is joined by set designer, Es Devlin; costume designer Evie Gurney; lighting designer, Jon Clark; movement directors, Ellen Kane and Hannes Langolf; sound designers, Dan Balfour and Tom Gibbons, with additional music by Max Perryment and video designer, Ash J Woodward. Casting is by Bryony Jarvis Taylor; dialect coach is Richard Ryder and associate director is Elin Schofield.
Dear England in the West End is supported by American Express, the National Theatre’s Preferred Card Partner.
The Mythologyworkshop presents Gandhari – The Mother Who Chose Not To See, in the Etcetera Theatre, Camden NW1, London. In blending the mythic with the modern, ‘Echoes of Gandhari’ is a deep dive into the legacy of Gandhari- that formidable, melancholy matriarch of the Mahabharata. A Preview feature by columnist Riccha Grrover for Asian Lite International.
Choosing to blindfold herself in solidarity with her husband- the blind King Dhritirasthra- Ghandari makes a decision that, in time, will cost her everything. Along the way we are introduced to the lives of three contemporary women, now struggling with motherhood and womanhood, and the ways in which they too, have chosen to metaphorically blind themselves. Each scene, whether poetic or modern, will offer a direct parallel to some part of Gandhari’s story, in an attempt to ask, what is the relevance of that mother’s tragedy today?
The play is the product of the international theatre workshop, Performing Mythological Characters In Contemporary Theatre, conducted in London.
Director of the workshop and co-writer, Tom Edward Kane recently spoke about the workshop and the play. “The objective of this workshop is to give performers an opportunity to explore complex methodological characters from their cultures. In this edition we explore Gandhari, one of the major characters in the Sanskrit epic Mahabharata, who has not been explored much in contemporary literature, cinema or theatre performances. Perhaps, it is the only play where we explore her in depth and find her to be more relevant and alive in the age of willful blindness that we are living in.”
The play is co-written and performed by Vaishali Chakravarty, an actor and the founder of Joy Of Drama a drama-in-education organization based in India. She is approaching the performance from her real life experience as a teacher where she has to meet mother everyday. “It’s not easy to be a woman and more so, a mother. As a teacher, I have to interact with mothers everyday and some of them are living a life much like Gandhari. They wear blindfolds of various kinds and choose not to see things that lead to some of the most important issues we are facing today.”
The play is directed by the RADA graduate Katie Georgiou, who takes a contemporary view of Gandhari. “One way of looking at performing a mythological character is a grand and colorful costume drama, nothing wrong with that but I wanted to put her in the world we live in today. In which shape and form do we see her around us or inside us? In the process, we may be able to make the audience look inwards and think about the choices that we have made in our lives.”
‘Gandhari- The Mother Who Chose Not To See’ will have five performances between Sep 26-30, 2023, including a special post-show discussion with the cast and crew on 30 Sep 2023.
Biographies
Tom Edward Kane – Co-Writer & Workshop Director
Tom is an actor, writer and director from London and a graduate of RADA. His focus of creative research has been Indian Mythology and its complex characters. He has written and acted in several plays and short films. He is also a visiting faculty at RADA and an independent teacher.
Vaishali Chakravarty- Co-Writer & Actor
Vaishali is an actor and drama-in-education expert from New Delhi. She has trained and performed with the master Indian theatre practitioners Ima Sabitri Devi and Late Heisnam Kanhailal. She has performed in several productions with the Actor Factor Theatre Company. Her theatre credits include Anurag Kashyap’s Aakaar, Shashak Gupta’s The Leela Tapes, Munshi Premchand’s Kafan, Girish Karnad’s Bali and Sunit Sinha’s Khudgudi. Her performances have found special mentions in The Hindu, Indian Express and The Times of India.
Katie Georgiou – Director
Katie is an actor from Newcastle upon Tyne and a graduate of RADA (2008). Theatre credits include Romeo and Juliet (RSC), Heartbeat of El Salvador (Rise Theatre) Ms. (RADA Festival). Her directing credits include No Exit (Sartre) and Twelfth Night. She is thrilled to be directing this exciting re – imagining of the Gandhari story.
Shashwat Srivastava- Sound, Art And Communication Design
Shashwat is a music composer, actor, director, playwright and an advertising professional from New Delhi. His repertoire of work includes a number of theatre productions, feature films, documentaries, music albums and award winning advertising campaigns. He is an alumnus of the Indian Institute Of Mass Communication, New Delhi.
About Mythologyworkshop Ltd
Mythologyworkshop is an organization founded by Tom Edward Kane to bring artists, scholars, performers and audiences together to explore the fascinating world of mythology, its stories and characters and how much these reflect upon our times. The company aims to organize workshops, shorts courses and produce plays and films on the subject.
About Joy Of Drama
Joy Of Drama is an organization dedicated to helping children and young adults develop intelligence and life skills through drama. Based in New Delhi, the organization conducts several long and short term programs and creates opportunities for young people to create theatre plays.
Why Not Theatre’s Mahabharata is the first major international adaptation led by a company from the South Asian diaspora, UK premiere at the Barbican from 1-7 October 2023; preview by columnist Riccha Grrover for Asian Lite International
Mahabharata (Mah-hah-BAH-ruh-tah) is a contemporary adaptation of the Sanskrit epic poem, that follows a devastating family feud and explores profound philosophical and spiritual ideas. Its stories are more than four thousand years old and foundational to Indian culture. The new, large-scale retelling by Toronto-based company Why Not Theatre is the first major international adaptation to be led by a company from the South Asian diaspora and makes its UK premiere at the Barbican Theatre this autumn (1 – 7 October). The world premiere was hailed by critics as “triumphant” (Toronto Star), “stunning” (Globe and Mail) and “Epic in every sense of the word.” (Intermission magazine) at The Shaw Festival Theatre in Niagara-on-the-Lake, Canada in March 2023.
The stories collected in ‘The Mahabharata’ span thousands of years and over 100,000 verses – almost four times as long as Homer’s ‘The Odyssey’ & ‘The Iliad’ combined, and eight times as long as the Bible. To this day, favourite moments, characters and lessons are remembered and retold in the kitchens and temples of more than 1 billion people of India and its diaspora. These ancient stories continue to resonate powerfully today against a backdrop of territorial war, human rights violations, and climate change.
Almost 40 years since Peter Brook’s legendary production, Why Not Theatre’s adaptation takes audiences on a journey through the past in order to write a thrilling new future. Exploring the act of storytelling itself, the staging evolves from ancient and intimate – a storyteller around a fire and classical Kathakali dance – to a modern spectacle with projection, dynamic soundscapes, poetic stage design and a new opera for the most revered portion of ‘The Mahabharata’, the Bhagavad Gita. A live onstage band creates the atmospheric music score, featuring traditional instruments from the Bansuri (bamboo flute, often depicted as a favourite of the Hindu god Krishna) to the Tabla (percussion, an essential element in music and dance performance across the Indian subcontinent).
The production is presented in two parts and narrated by a storyteller (Miriam Fernandes), a charismatic guide who weaves a path through the forest of stories. Karma (Part 1), is the origin story of the rival Pandava and Kaurava clans, illuminating the choices we inherit and how those choices impact generations to come. In Dharma (Part 2), a great battle destroys the planet and the survivors are left behind to rebuild.
Mahabharata is performed by a company from across four continents, all from the South Asian diaspora. Balancing East and West, traditional and contemporary, the production and ensemble highlight the complex hybrid nature of cultures in today’s globalised world and interconnected lives. The cast includes UK based performers Ajay Chhabra (Rough Diamonds, Netflix), Neil D’Souza (How To Hold Your Breath, Royal Court), Darren Kuppan (Let The Right One In, Manchester Royal Exchange), Goldy Notay (Life of Pi, UK Tour) and Sakuntala Ramanee (Life of Pi, West End), who are joined by Canadian and other international performers Shawn Ahmed, Jay Emmanuel, Miriam Fernandes, Navtej Sandhu, Anaka Maharaj-Sandhu, Ellora Patnaik, Meher Pavri, Munish Sharmaand Sukania Venugopal, and understudies Varun Guru, Karthik Kadam, Suma Nair, Ronica Sajnani and Ishan Sandhu. Performing in the live band are John Gzowski (Conductor/Co-Composer/Co-Sound Designer/Guitar), Suba Sankaran (Band Leader/Co-Composer/Co-Sounder Designer/Vocals), Dylan Bell (Bass/Keyboard), Gurtej Singh Hunjan (Percussion), Hasheel Lodhia (Bansuri/Vocals) and Zaheer-Abbas Janmohamed (Tabla).
The cast of Why Not Theatre’s Mahabharata (Shaw Festival, 2023). Photo by David Cooper.
Associate Director, Co-Writer, Storyteller and Why Not Theatre Co-Artistic Director, Miriam Fernandes, said:
“We are a small strand among a great lineage of storytellers who have weaved this epic of ‘The Mahabharata’ over the ages. These stories have been passed from storyteller to audience for thousands of years and span the earth, traveling in the memories and imaginations of the South Asian diaspora. Though first composed in an ancient time, the themes of greed, revenge, ecocide and privilege feel acutely relevant in our globalized world.”
Director, Co-Writer and Why Not Theatre Founder and Co-Artistic Director, Ravi Jain, said:
“As a student in London, I watched the world masters dazzle audiences on the Barbican stage. 20 years later it’s a dream come true to share this complex work we’re so proud of at this truly special venue.”
Toni Racklin, Head of Theatre & Dance at the Barbican, said:
“We are thrilled to present this groundbreaking new production to our audiences, a masterclass in exhilarating stagecraft inspired by ancient oral traditions and poetry. We are honoured to welcome Why Not Theatre to our main stage for the first time, following their studio residency in 2019, and we hope that, for many of our audience members, Mahabharata will resonate with the stories that have been passed down for generations. Exploring the power of storytelling to understand where we’ve come from and to help us navigate our future, Mahabharata invites us to connect with perspectives from across the world and inspire us to reimagine what we can achieve together.”
The first sparks for the project started in 2015. Ravi Jain (Founding Artistic Director of Why Not Theatre) chose to adapt just one story (the Bhagavad Gita) within the sprawling Mahabharata for a commission by the intercontinental Pan Am Games. Backed by funding from Canada Council of the Arts, Ontario’s prestigious Shaw Festival Theatre then invited Ravi to ‘Dream Big’ and stage the entire epic poem. Having grown up with the Indian stories transplanted to a Canadian context, Ravi was inspired to dive deep into his past, taking inspiration from many South Asian sources as well as Peter Brook’s 1985 production. Ravi wanted to find a way to share this story with a modern audience by highlighting the myriad ways we tell stories. As part of Why Not Theatre’s deeply ingrained collaborative approach, Ravi teamed up with Miriam Fernandes (now Co-Artistic Director of Why Not Theatre). Together they built the script, drawing primarily from Carole Satyamurti’s ‘Mahabharata, A Modern Retelling’, Devdutt Patnaik’s ‘JAYA’, and the poetry of Rabindranath Tagore, but also pulling from wildly diverse perspectives and combining influences, including folk tales, street theatre, western European physical theatre (from their training at LAMDA and the Lecoq School and contemporary companies such as Simon McBurney’s Complicité and Ariane Mnouchkine’s Théâtre du Soleil), oral storytelling traditions, and the popular Indian staples they grew up with, such as Amar Chitra Katha’s Mahabharata comics and B. R. Chopra’s Mahabharata TV series.
Mahabharata is adapted by Why Not Theatre’s Founding Artistic Director Ravi Jain and Co-Artistic Director Miriam Fernandes, using poetry from Carole Satyamurti’s ‘Mahabharata: A Modern Retelling’. The original concept was developed with Jenny Koons. Set design is by Lorenzo Savoini, costume design is by Gillian Gallow, lighting design is by Kevin Lamotte, projections are by Hana S. Kim, sound design is by John Gzowski and Suba Sankaran, original music is by John Gzowski andSuba Sankaran, with contributions from Dylan Bell, Gurtej Singh Hunjan, Zaheer-Abbas Janmohamed and Hasheel Lodhia (who also serves as traditional music consultant), and choreography is by Brandy Leary with contributions by Jay Emmanuel and Ellora Patnaik. Lead Producers are Michelle Yagi and Kevin Matthew Wong, with Production Manager Crystal Lee. The production is directed by Ravi Jain and made its world premiere at the Shaw Festival, Niagara-on-the-Lake, Canada.
Miriam Fernandes as the Storyteller, with Anaka Maharaj-Sandhu as Arjuna and Neil D’souza as Krishna, in Why Not Theatre’s Mahabharata (Shas Festival, 2023). Photo by David Cooper.
Why Not Theatre is an international theatre company based in Toronto, Canada, operating at the intersection of art, innovation and social change. Rooted in values of community and collaboration, Why Not challenges the status quo, rethinking how stories are told and who gets to tell them. Since its inception, the company has developed and produced 50+ new plays to critical and public acclaim. These works have toured to over 50 cities and garnered over 40 awards and nominations. Why Not is led by Founder and Co-Artistic Director, Ravi Jain, Executive Director, Karen Tisch, and Co-Artistic Director, Miriam Fernandes.
Neil D’souza as Krishna and Anaka Maharaj-Sandhu as Arjuna in
Why Not Theatre’s Mahabharata (Shaw Festival, 2023). Photo by David Cooper.
Supporters credits
A Why Not Theatre Production. Originally presented and commissioned by the Shaw Festival in association with the Barbican.
The Barbican presentation is generously supported by the Bagri Foundation.
Anaka Maharaj-Sandhu as Arjuna, Munish Sharma
as Bhima, Shawn Ahmed as Yudhishthira and Sukania Venugopal as Bhishma with the cast of Why Not Theatre’s Mahabharata (Shaw Festival, 2023). Photo by David Cooper.
Why Not Theatre acknowledges the support of its Major Production Supporters: Shaw Festival, Canada Council for the Arts, National Arts Centre’s National Creation Fund, The Slaight Family Foundation, Kingfisher Foundation, Deb Barrett & Jim Leech, Lindy Green Family Foundation and Wuchien Michael Than Foundation.
L to R: Darren Kuppan as Duryodhana, Navtej Sandhu as Karna, Sakuntala Ramanee as Shakuni, Harmage Singh Kalirai as Dhritarashtra, Sukania Venugopal as Bhishma and Shawn Ahmed as Yudhishthira in Why Not Theatre’s Mahabharata (Shaw Festival, 2023). Photo by David Cooper.
About the Barbican
The Barbican is a catalyst for creativity, sparking possibilities for artists, audiences, and communities. We showcase the most exciting art from around the world, pushing traditional artistic boundaries to entertain and inspire millions of people, create connections, provoke debate, and reflect the world we live in.
We are an international arts and events centre rooted firmly in our own neighbourhood, collaborating with local communities and putting the City of London on the map as a destination for everybody. Central to our purpose is supporting emerging talent and shaping opportunities that will accelerate the next generation of creatives.
Resonating with him, Pankaj Kapur adds, “I’m happy that such festivals are being held because it will enrich the Delhi audiences and will give us more opportunities to perform in front of people” …reports Asian Lite News
The fourth edition of India’s much anticipated theatre spectacular, the Delhi Theatre Festival, will soon return to the national capital’s cultural corridors after a three-year break. This year’s festival hopes to fully immerse theatre enthusiasts in the enchantment and grandeur of the performing arts by building on its prior accomplishments.
Delhi Theatre Festival 2023 will take place from August 4 to August 6 and span three incredible days. To provide a genuinely immersive theatrical experience, this year’s host venues include cutting-edge locations like Siri Fort Auditorium, Kamani Auditorium, and OP Jindal Auditorium in New Delhi and the prestigious Orana Conventions in Gurugram.
With an impressive line-up comprising of 7 homegrown plays performed across three days, audiences can expect to be enthralled by critically acclaimed performances by eminent theatre luminaries such as Naseeruddin Shah, Pankaj Kapur, Piyush Mishra, Lillete Dubey, Shekhar Suman, Vinay Pathak, Shabana Azmi, Suchitra Krishnamoorthi and Kanwaljit Singh. The line-up includes plays such as Ismat Apa Ke Naam, Dopehri, Vodka & No Tonic, Ballimaaraan, Ek Haan, Nothing Like Lear and Kaifi Aur Main
Prabhu Tony, COO and Co-Founder, Alchemist Live, envisions the Delhi Theatre Festival as a global platform for theatre enthusiasts. He shares, “The overwhelming response to the last three seasons has inspired us to create an even more diverse and engaging fourth season. We are very proud to have established a platform where theatre will thrive and envision the annual ‘Delhi Theatre Festival’ to be the breeding ground for theatre in India. As we embark on a brand-new season, we plan to enthral our audience with iconic acts. Their presence is certain to elevate the theatrical offerings to unprecedented heights, ensuring an unforgettable experience for all attendees. This endeavour reflects our commitment to expanding the horizons of theatre and fostering a vibrant community of creative talent”.
A longstanding patron of the festival, Naseeruddin Shah says, “It is our pleasure, Motley’s and mine to be at Delhi Theatre Festival for the fourth year in a row and it’s always wonderful to be a part of the festival because it spreads awareness about the various kinds of plays that are being done. Plus, the Delhi audience has always been very special for me because I learnt my craft here in the drama school in 1970. We hope that we will continue to be a part of the Delhi Theatre Festival.”
Resonating with him, Pankaj Kapur adds, “I’m happy that such festivals are being held because it will enrich the Delhi audiences and will give us more opportunities to perform in front of people”
Shekhar Suman whose play is showing in the region for the very first time says, “I am privileged to bring our play ‘Ek Haan’ that is based on the life of Saadat Hasan Manto, for the first time to the Delhi audience and especially at American Express presents Delhi Theatre Festival Season 4.”
The Delhi Theatre Festival 2023 is poised to be an extraordinary celebration of the performing arts, captivating audiences with its unrivalled theatrical prowess and awe-inspiring talent. Established as the pinnacle of theatrical destinations in India, the Delhi Theatre Festival has captivated the hearts of theatre aficionados with its’ exceptional repertoire of extraordinary performances and this season promises to be no exception. From thought-provoking dramas that explore the depths of the human experience to spellbinding musicals that ignite the senses, each production will leave an indelible mark on your soul.
ABOUT THE PLAYS
Ismat Apa Ke Naam – Naseeruddin Shah, Ratna Pathak Shah, Hiba Shah
Enter the enchanting world of Ismat Chughtai, the trailblazing feminist and literary genius, through a captivating solo act. Naseeruddin Shah brings to life the compelling stories of Ismat Apa in three remarkable acts: ‘Gharwali,’ ‘Mughal Bachcha,’ and ‘Chhui Muee.’ Prepare to be enthralled as Shah takes you on a mesmerising journey through the powerful narratives of this literary icon.
Dopehri – Pankaj Kapur
Immerse yourself in the streets of Lucknow and step into the world of Amma Bi, an elderly woman on a transformative journey. Pankaj Kapur’s novella comes alive on stage, transporting you through the emotions, solitude, and self-discovery of a 65-year-old woman residing in a magnificent haveli. Prepare for a theatrical experience that combines lights, music, and the evocative storytelling of Kapur’s masterpiece.
Vodka & No Tonic – Lillete Dubey, Ira Dubey, Joy Sengupta
Step into the world of “Lockdown Liaisons,” a collection of captivating short stories penned by acclaimed writer Shobhaa De. Join Lillete Dubey on a compelling exploration of the fragility of human relationships within the confines of home. Through varying perspectives, this poignant play examines love, upheaval, and the transformations that emerged during the extraordinary times of the pandemic.
Ballimaaraan- Piyush Mishra
Embark on a musical journey paying tribute to the legendary poet Mirza Ghalib with Ballimaaraan, a band that blends genres and emotions. Inspired by the lanes of Delhi where Ghalib once resided, experience the fusion of retro and contemporary tunes. Piyush Mishra’s heartfelt lyrics bring an engaging conversation to life, creating a youthful and rebellious energy that resonates with audiences.
Ek Haan – Shekhar Suman, Suchitra Krishnamoorthi
Transport yourself to the post-Partition era of 1951 and delve into the life and writings of renowned writer Manto. Through the eyes of Kashmiri journalist Wazira, played by Shekhar Suman, explores the enigmatic relationship between Wazira and Manto. As their interactions unfold, Manto’s finest stories come alive on stage, shedding light on his life and his fierce feminism. Experience a powerful narrative that resonates with the present cultural and political climate.
Nothing Like Lear – Vinay Pathak
Vinay Pathak’s spellbinding performance in “Nothing Like Lear” offers a fresh and contemporary take on Shakespeare’s iconic tragedy. Pathak’s impeccable portrayal of a man grappling with power, family, and personal demons promises a riveting experience that pushes the boundaries of theatrical storytelling.
Kaifi Aur Main – Shabana Azmi, Kanwaljit Singh, Jaswinder Singh
Immerse yourself in the extraordinary love story of renowned poet Kaifi Azmi and his wife Shaukat Kaifi. Let veteran actors Shabana Azmi and Kanwaljit Singh take you on an immersive journey through the life of Kaifi Azmi. Experience the heartfelt narration of his early years, courtship, and the magic of Bombay in the 1950s. Accompanied by soul-stirring performances by Jaswinder Singh and a live orchestra, this play reading celebrates the remarkable moments of Kaifi’s life and his lyrical legacy.
The musical comedy MRS. DOUBTFIRE is here to save the day! Based on the beloved film, this big-hearted and hilarious new production is now set to dazzle and delight audiences at London’s Shaftesbury Theatre. A preview feature by columnist Riccha Grrover for Asian Lite International.
A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.
Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
Mrs. Doubtfire will introduce Gabriel Vick (Avenue Q) as Daniel Hillard. He will be joined by Laura Tebbutt (School of Rock) as Miranda Hillard, Carla Dixon-Hernandez (Matilda the Musical) as Lydia Hillard, Cameron Blakely (Newsies) as Frank Hillard, Marcus Collins (Kinky Boots) as Andre, Samuel Edwards (Anything Goes) as Stuart Dunmire, Ian Talbot OBE (Hairspray, and Director of The Mousetrap) as Mr. Jolly and Kelly Agbowu (Sylvia) as Wanda Sellner.
Further cast include Nicole Carlisle, Joshua Dever, Joseph Dockree, Rebecca Donnelly, Amy Everett, Maria Garrett, Kiera Haynes, Vicki Lee Taylor, Adam Lyons, Lisa Mathieson, Corey Mitchell, Ellie Mitchell, Matt Overfield, Rhys Owen, Christopher Parkinson, Micha Richardson, Tom Scanlon, Paulo Teixeira and Samuel Wilson-Freeman.
Mrs. Doubtfirealso introduces Max Bispham, Elliot Mugume and Frankie Treadaway who alternate the role of Christopher Hillard and Scarlett Davies, Angelica-Pearl Scott and Ava Posniak who alternate the role of Natalie Hillard.
Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell (team behind the hit Tony Award-nominated musical Something Rotten!). Direction is by 4-time Tony winner Jerry Zaks (Hello, Dolly!), Choreography by Lorin Latarro (Waitress), and Music Supervision, Arrangements & Orchestrations by Ethan Popp (Tina: The Tina Turner Musical). Scenic design is by David Korins (Hamilton), Costume Design by Catherine Zuber (Moulin Rouge! The Musical), Lighting Design by Philip S. Rosenberg (Pretty Woman The Musical), Sound Design by Brian Ronan (Beautiful: The Carole King Musical), Hair Design by David Brian Brown (Frozen), Casting by Stuart Burt (Cabaret) and Children’s Casting Director is Verity Naughton.
Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical.
Get ready for this family production; an adorable, large-hearted musical comedy!
