Written by a young Gujarat-based writer Chaitali Das, the play opens up with a conversation around masturbation and why it’s alright if women want to experience desire and pleasure. A reference to a vibrator in a play in Gujarat – is worth noting…reports Janhvi Sonaiya
While Gujarat was battling with one of the worst cyclones this week, there was another wave too – this one was of feminism.
At the experimental theatre space Prayogshala in Ahmedabad, a bunch of young girls could be seen in loose black clothes, without makeup, dancing to Bollywood songs on unchoreographed steps – everything liberating that a woman would do in her room; they were doing it on stage.
In Gujarat, people cannot afford to take a stand – be it political or feminist, because no one wants to do anything that might disturb his/her dhandha, business. Here, ‘Voh Ladkiyon Wala Natak’ comes as a breath of fresh air. The all-woman, non-linear piece of theatre (rebellion actually) is centred around women and their take on love, lust, anger, frustration and various other emotions. This Gujarat-based production has also performed at Thespo Theatre Festival, Mumbai.
Written by a young Gujarat-based writer Chaitali Das, the play opens up with a conversation around masturbation and why it’s alright if women want to experience desire and pleasure. A reference to a vibrator in a play in Gujarat – is worth noting.
In another scene, a youngster Durga (a reference to the goddess) is seen fighting against Mahishasura but in the middle of the yuddha (war) — Durga gets a phone call from her family (Lord Shiva) about where the milk is? What’s the OTP? And who will bring their little Ganesha home? With humour, they address the glorification done around women and multitasking.
One of the leading characters in the play, Kamala, is played by Preeti Das. She is Laadli awardee journalist, now, an academician, who talks about feminism through comedy and theatre.
Das said, “These young girls were tired of the male narrative in theatre and in life in general and therefore, they came up with their side of the story.” Other team members include Teertha, Anannya, Aayushi, Neha, Lipi, Yashi, Kanksha, Chaitali, Snigdha and Paridhi.
There are moments in the play where one could feel like they said out loud, what you have been feeling and experiencing as a woman for so long. After all, the idea of suppression is universal. At the end of the play, the women come together and talk and talk…and a character says “Ladkiya to sirf baate kar sakti hain, nahi!” (Women can only talk, right!?) With this, the houseful audience gave thundering applause.
The end brings more questions than answers. Can violence ever be called love? As a housewife, what is my purpose in this relationship? Is it alright if women don’t meet the beauty standards set for them?
The play gives the feel-good factor of breakfast, not the satisfaction of lunch. But the silver lining is, some at least scratched the surface in a state where everyone else is too scared of taking a stand – politically or otherwise.
The festival is being organized at Little Theatre Group Auditorium, Copernicus Marg, New Delhi from 4th – 11th June 2023…reports Asian Lite News
Natya Kumbh aims to foster a vibrant and inclusive theatre community, where artists can thrive and audiences can immerse themselves in the magic of live performances. Through the festival the organisers aim to provide a platform for talented playwrights, actors, and theatre enthusiasts to showcase their art and connect with audiences who appreciate the power of storytelling.
Vibgyor launches its first intellectual property in the space of theatre – Natya Kumbh, a not-for-profit initiative, reaffirming its commitment to the growth and development of the theatre industry in India.
Natya Kumbh is a festival of theatre, celebrating the drama and dramatist spanning across various genres – from comedy, drama, satire to patriotism. It consists of 9 plays written by celebrated Playwright Mrinal Mathur which will be performed during this week-long festival. Each of the plays are directed and performed by leading theatre troupes and directors from all across the country. All the plays are insightful and not one-sided to provide a meeting ground for different ideas and ideologies.
The festival is being organized at Little Theatre Group Auditorium, Copernicus Marg, New Delhi from 4th – 11th June 2023.
Natya Kumbh represents a contemporary experience so that audience sees relevance. Convenient to stage and travel with so that more and more people across the country see plays more often. It is insightful and not one-sided, so it provides a meeting ground for different ideas and ideologies. The vision is to travel all over the country and make this mission. Over time, the plan is to involve more theatre people in the movement as long as they bring to the table plays that have an independent playwright’s originality, insight and ambivalence at their core.
Some of the subjects that plays of Natya Kumbh touch upon are Kashmir, The Farm laws and farmer’s movement. India’s History and suit political narratives. The hypocrisy of the middle class. The #MeToo movement. Gender, power and Feminism. The INA trials and contemporary protest movements. India’s soul numbing bureaucracy. In these plays, there are several issues; issues that would normally trigger hyperbole, but are dealt with compassion. Sometimes with biting satire, often with humorous wordplay. Sometimes by taking recourse to myth, sometimes to history. By wearing a sardonic lens at times and at times, with geniality; but always with drama and emotional power. These plays will be performed and read by some of the leading theatre groups of India.
Ankur Kalra, Managing Director Vibgyor and Producer of Natya Kumbh Festival states, “In today’s day and age where the consumer is bombarded by an overdose of content online, they are more drawn towards live experiences which they can relate to and there is no live experience as powerful and moving as theatre. We see Natya Kumbh as the beginning of a movement which helps bring alive conversations in today’s polarized world. We plan to take this to multiple cities across the country post the successful completion of the first edition in New Delhi”.
Theatricalls production’s award-winning play, an enchanting and amusing theatrical show that has captivated audiences of all ages- “Saiyaan Be-imaan” is an absolute must-see performance, featuring two couples from different generations whose lives intersect in surprising ways. A exclusive feature by columnist Riccha Grrover for Asian Lite International newspaper.
The play set in India follows the story of an elderly couple and their long-time bachelor friend, with the husband’s constant worry that his wife and the aged friend have grown a little too fond of each other. Meanwhile, the other couple, despite being very much in love, finds themselves caught up in a situation that leads to suspicions of infidelity.
As the story unfolds, the audiences are introduced to a cast of delightful and charming characters, including a few antagonists, who add to the humor and drama of the play. Furthermore, “Saiyaan Be-imaan” touches on the challenges faced by the elderly in their twilight years, making it a heartfelt and thought-provoking story.
“We are thrilled to share this incredible play with our audiences, especially on the occasion of Mother’s Day,” said Nupur Khosla, the show curator & founder of Theatricalls production. “With its perfect blend of comedy, drama, and heartwarming moments, this show is guaranteed to leave a lasting impression on everyone who sees it.”
Nupur Khosla, founder of Theatricalls production is passionate about showcasing intimate and contemporary theatre events. The content is modern and resonates with today’s times.
Featuring a talented ensemble of 9 actors, a breathtaking set design, and expert direction, this theatrical experience is one not to be missed. This Hindi language play which was a 90 min show, at Select City Walk was an exceptionally unforgettable show with stellar performances, excellent set design, brilliant direction, superb dialogues and overall heartwarming performances. The Play has won awards for best actor and best production at the Natsamrat awards for recognition in theatre.
About the Director: Mr Sanjeev Johri is trained under NSD stalwarts like B.V.Karanth, Pankaj Kapur and Nadira Zaheer Babbar. He has performed several lead and major roles in plays directed by thespians like Rajinder Nath, Panchanan Pathak and Barry John. He trained in direction under the National Award winning director Joy Michael. He has directed plays for Abhiyaan, Osho World, Jesus and Mary college and many more institutions of repute. He has also written several full length plays.
About the Producer: Nupur Khhosla is the show curator and founder of Theatricalls production who is the first & only modern day theatre show presenter in Delhi NCR. She is an actor and has over a decade long experience in the corporate in the field of Marketing & Brand Management. She is passionate about showcasing theatre events in an intimate setting and in super theatre format for the contemporary theatre enthusiasts. Her plays are staged at venues like The Quorum Club, Camelias Club, Piano Man & The Roseate House. The content is modern and resonates with today’s times.
Theatricalls produce plays that are experimental and provide a holistic theatrical experience in exclusive venues. Their forte is storytelling with an exceptional visual and sound experience. They collaborate with talent from different walks of life who bring their rich life journeys that makes content resonate with discerning audiences. They are an audience friendly theatre group who also curate dinner theatre experiences. Highly Recommend catching their shows!
A lighthearted storyline for all Delhi's theatre enthusiasts(ianslife)
An unmissable play is set to stage at Kamani Auditorium, New Delhi, on May 13, 2023, at 7:30pm and May 14, 2023, at 4:00pm & 7:30 pm, tickets for which are available on BookMyShow…reports Asian Lite News
For its sixth season, Delhi will host the eagerly awaited Hindi play Baaghi Albele by Aadyam Theatre, an Aditya Birla Group initiative. This production, which has the renowned theatre director Atul Kumar at the helm, is sure to enthral audiences with its dramatic yet light-hearted storyline and promises to be a treat for all Delhi’s theatre enthusiasts.
Set in Ludhiana, Punjab, Baaghi Albele showcases its narrative through a satirical comedy. The play explores the struggle of artists and intellectuals in a time of government repression and reflects on the relevance of art and artists in contemporary times. It follows the journey of husband and wife actors Johny and Minnie Makhija as they find themselves at the centre of a dangerous situation when a soldier from an underground rebel organisation seeks their help.
With the threat of prosecution and death looming, the couple, along with their troupe of actors, must use their wit and theatrical skills to stay one step ahead of the government spy on their trail. The play combines humour and absurdity with a dark reality as the theatre troupe works to flee to England while navigating the challenges posed by a government spy and a corrupt inspector.
While the play’s plot is based on Ernst Lubitsch’s motion picture “To Be or Not to Be” and Nick Whitby’s dramatic text of the same name, much of the play has been rewritten and improvised by the play’s actors and authors. Gagan Dev Riar wrote the script, and Saurabh Nayyar adapted the plot. The play itself is a full-fledged comedy with colourful characters that drive the drama ahead despite the heavy plot. This effectively highlights the continuing struggle of artists to navigate societal constraints. The piece expertly combines drama with humour to provide a satirical commentary on the difficulties faced by artists throughout time.
Furthermore, Atul Kumar’s exceptional stagecraft and a stellar cast of proficient actors, including Gagan Dev Riar, Ayesha Raza, Taranjit Kaur, Ujjwal Chopra, Saurabh Nayyar, and Harsh Khurana, amongst many others, will bring these hard-hitting implications of the narration spectacularly and comically to life.
An unmissable play is set to stage at Kamani Auditorium, New Delhi, on May 13, 2023, at 7:30pm and May 14, 2023, at 4:00pm & 7:30 pm, tickets for which are available on BookMyShow.
The tale is a contemporary, humorous take on how every family has skeletons hidden in their closet, which unfolds into a poignant and deeply human exploration of love and loss…reports Asian Lite News
The countrys pioneering theatre initiative by the Aditya Birla Group — Aadyam Theatre — has once again raised the curtains to present its latest original play, ‘The F Word’. The play is directed by widely acclaimed producer-writer-actor-director Akarsh Khurana, whose most recent noteworthy work includes the famed web series ‘Mismatched’ and the movie, ‘Karwaan’ starring the late Irrfan Khan.
Produced by Akvarious Productions, this play is a satirical yet stimulating story of a dysfunctional family, their untold personal affairs, and the bittersweet dynamics that shape their identities. Raw and complex emotions simmer beneath the surface, as this family confronts their past and present, and grapples with the fragility of their relationships.
‘The F Word’, where F stands for the other more infamous word Family, takes the audience on a roller-coaster ride of emotions as they follow Chetan, a high school teacher, and his estranged sister, Unnati, a psychologist, in their quest to understand their parents’ tangled marriage. As the family tries to navigate their way through a long-overdue conversation, they unwittingly unleash Pandora’s box of family secrets that have been swept under the rug for years.
The tale is a contemporary, humorous take on how every family has skeletons hidden in their closet, which unfolds into a poignant and deeply human exploration of love and loss.
This absorbing comical take on intricate bonds is brought to life by an incredible cast. Akash Khurana essays the Father’s role, capturing the indignities of ageing with humour and pathos. Siddharth Kumar brings depth and nuance to his portrayal of the Brother, revealing the character’s vulnerabilities and flaws. Malaika Shenoy as the Sister breathes in wisdom, charm, and sensitivity into her character. And finally, Garima Yajnik shines as she portrays the friendly and familiar Restaurant Owner to perfection.
Director Akarsh Khurana, known for his masterful direction, said: “Dysfunctional families have always fascinated me. In fact, even though I get along well with my father, who is acting in the play, I have noticed a common theme of daddy issues in plenty of my work. I think the deeply personal conflict between relatives can be mined for both comedy and pathos. And this time, with Aadyam showcasing smaller productions where scale and razzmatazz are no longer a priority, I could delve deep into a character-driven conversation piece.
“‘The F Word’ is a deeply personal and prolonged conversation about parents, children, marriage, ageing, resentment, nostalgia, and importance, or lack, of communication. It is darkly comic and surprisingly relatable, or so we hope. If it isn’t, well, who said family outings have to be fun?”
Shernaz Patel, the Artistic Director of Aadyam said: “The talented trio of Akash Khurana, Akarsh Khurana, and AKvarious Productions are back again to entertain us with this wonderful bitter-sweet family story. ‘The F Word’ is a play that will make you laugh out loud and tug at your heartstrings. What will make your theatre experience even more special is that the play is being staged at the exciting, intimate space at the NCPA — the JBT Box.”
The play opens at JBT Box, NCPA, on April 29, with two shows at 4 p.m. and 7.30 p.m. and on April 30 at 4 p.m. and 7.30 p.m.
The piece is replete with songs which come from the centennials old Maanganiyaar tradition but avoids musical instruments, once again underlining the power of the spoken and sung word,” the director says…reports Asian Lite News
Lamenting that Indian theatre is just not ready to push boundaries, theatre director Mohit Takalkar, whose production ‘Hunkaro’ won seven awards at the recently concluded Mahindra Excellence in Theatre Awards (META) curated by Teamwork Arts in the capital, tells : “Being average has become more popular than doing something different. Why are we not taking more risks when it comes to writing, stage making, and design? Imagine, for many, the role of a scenographer in theatre-making is completely dispensable.”
‘Hunkaro’, a devised production in Marwari, Hindi, Awadhi, and Haryanvi, which swept in the categories including Best Director, Stage Design, Light Design, Costume Design, Production, Ensemble, and Original Script was conceived during the second wave of the Covid-19 pandemic.
The idea of the piece came into existence with the disturbing realisation that the pandemic had reduced not only the attention span of people but also the capacity and need to listen. Since Lockdown, there is an insatiable hunger to consume visuals and noise which leaves very little to no room for listening. And if there is no listening, Hunkaro cannot exist.
“But are we ready to listen? It is said that listening is an art, so just like many other art forms, is this one too losing its beauty and necessity? But the world lives on hope and indeed, hope is the thread that binds this performance. The performance, while laying a strong emphasis on the beauty of the Rajasthani language, does talk about the aesthetic value of languages as a whole, the importance of the uttered word as well as the art of listening. Keeping ‘Psychophysical acting’ at the core of the performance, the actors are challenged to speak with the unison of mind and body, at times expressing themselves through tone and body, and sometimes in a dead no-tone. The piece is replete with songs which come from the centennials old Maanganiyaar tradition but avoids musical instruments, once again underlining the power of the spoken and sung word,” the director says.
Takalkar is optimistic that the many awards will be instrumental in encouraging the young actors who were part of the production. “For the group, when we started, we didn’t even think we had a play in our hands, just an exploration in our minds. So considering that, it is really special that it is getting so much attention,” he adds about the play based on stories by Vijaedan Detha, Chirag Khandelwal, and Arvind Charan.
The director, admitting that there was a time when he would treat the text as a Bible and follow it to the T’, says at one stage he realised that a performance script is something completely different, and there was a particular challenge and satisfaction in working on that. “Take the example of this play. The actors were the biggest point to rely on. Owing to the pandemic and what people suffered, there was so much to share. The raw emotion was the biggest material of the piece and after a long time the focus was only on the actors and their bodies along with their speech, so it was an enriching experience.”
Important the themes he chooses are contemporary and situations relatable, Takalkar, who received the Charles Wallace scholarship which enabled him to pursue his Masters’s degree in Theatre Practice from the University of Exeter (UK) in the year 2010 under the guidance of Phillip Zarrill, enrolled in formal theatre education quite late in his professional life. The director did not come through the ‘inter-college circuit’ and for a long time did not understand the concept of formal education.
“Everyone in the group decided to go out for a year and come back. That is how I applied to the master’s programme with half a mind. And it was a different world altogether. What I experienced changed my perspective. Also, coming from a background of Marathi theatre; we had very clear descriptions of what theatre was and was not, something that changed for me. I saw a lot of dance, and art and attended music concerts that changed the way I looked at things and my practice metamorphosed,” says the director who co-founded the Aasakta Kalamanch in 2003 and has directed more than 30 experimental plays in Marathi, Hindi, Urdu, Kannada, Marwari, and English languages.
Also, a filmmaker (‘The Bright Day’ and ‘Medium Spicy’), he feels that when it comes to indie cinema and content being made for OTT, while things are looking up, makers still have to conform to certain aspects and there is no ‘independence’ in the true sense of the word. “The saleability aspect is still very high, and I do not see that changing very soon. Look at thrillers on digital platforms. Even in that genre, makers are not willing to touch newer aspects.”
Takalkar, who lives with bipolar disorder and has been quite vocal about it stresses that while he does not wear it on the sleeve, but it is important for him to speak about it. ” It is an everyday struggle… For the longest time, I used to hide it for obvious reasons, but it fuels my art and the way I look at things, and the way I lead my life. And that raw energy, I must acknowledge.”
Jay Shah, Vice-President, Head – Cultural Outreach, at Mahindra Group adds, “At META, each production represented a distinctive topic with its unique way of presentation. Overall the 18th edition of the festival was a veritable feast for the senses covering various topics of social relevance. It is a true representation of Mahindra Group’s commitment to this essential art form.”
WEST END RETURN OF THE TONY AWARD®-WINNING, THE LEHMAN TRILOGY, IS NOW PLAYING AT THE GILLIAN LYNNE THEATRE UNTIL 20 MAY 2023 and is an exceptional and gripping theatre production – writes columnist Riccha Grrover for Asian Lite International
The National Theatre and Neal Street Productions’ critically acclaimed, five-time Tony Award® winning production of The Lehman Trilogy has returned to London. The strictly limited 17-week run has begun performances at the Gillian Lynne Theatre. Michael Balogun, Hadley Fraser and Nigel Lindsay are playing the Lehman brothers, and a cast of characters including their sons and grandsons. They are joined by pianist, Yshani Perinpanayagam.
Returning to perform the roles of Janitor and understudy is Ravi Aujla, with Will Harrison-Wallace and Leighton Pugh also returning to their understudy roles. Erika Gundesen is the understudy pianist.
Written by Stefano Massini, adapted by Ben Power and directed by multi-award-winning director, Sam Mendes with set design by Es Devlin, The Lehman Trilogy is an extraordinary feat of storytelling told in three parts on a single evening.
On a cold September morning in 1844, a young man from Bavaria stands on a New York dockside dreaming of a new life in the new world. He is joined by his two brothers, and an American epic begins. 163 years later, the firm they establish – Lehman Brothers – spectacularly collapses into bankruptcy, triggering the largest financial crisis in history.
Weaving together nearly two centuries of family history, The Lehman Trilogy charts the humble beginnings, outrageous successes, and devastating failure of the financial institution that would ultimately bring the global economy to its knees.
The production is a masterwork, keeps one at the edge of the seat and keeps one gripped with its power packed performances, great set design, engrossing music score, captivating lighting and spectacular storytelling, it’s a must watch play. Highly recommended and columnist rating all 5 stars!
Mendes is joined by set designer, Es Devlin; costume designer, Katrina Lindsay; video designer, Luke Halls; lighting designer Jon Clark; composer and sound designer, Nick Powell; co-sound designer, Dominic Bilkey; music director, Candida Caldicot; movement director, Polly Bennett and West End director, Zoé Ford Burnett. Company voice work is by Charmian Hoare with casting by Jessica Ronane CDG. They are joined by associate director, Rory McGregor; associate casting director Abby Galvin, associate designer, Amalie White, associate video designer, Zakk Hein and associate lighting designer, Charlotte Burton.
The Lehman Trilogy was the most awarded play on Broadway in 2022, winning Best Play, Best Director, Best Set Design, Best Lighting Design and Best Actor at the Tony Awards®. It also won the Drama League Award for Best Play and six Outer Critics Circle Awards, including Best Play.
First commissioned by Neal Street Productions and developed and co-produced with the National Theatre at the Lyttelton theatre in 2018, followed by an acclaimed sold-out run at the Park Avenue Armory in the Spring of 2019,
The Lehman Trilogy returned to London for a 16-week sold-out run at the Piccadilly Theatre in the West End from May until August 2019. Following Broadway’s 18-month shutdown, The Lehman Trilogy was the first British play to return to Broadway — where it had previously played four performances in March 2020 — for a much-lauded limited engagement at the Nederlander Theatre from September 2021 until January 2022. A Los Angeles transfer to Center Theatre Group’s Ahmanson Theatre followed from March until April 2022.
Prior to this, the world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015. It turned out to be Artistic Director Luca Ronconi’s final production before his death. A long- term admirer of Ronconi’s, Sam Mendes was inspired to begin planning an English adaptation for Neal Street Productions. Ben Power was commissioned by Neal Street Productions to create a new version of this epic play, using a literal English translation by Mirella Cheeseman.
The Lehman Trilogy in the West End is supported by American Express, the National Theatre’s Preferred Card Partner.
National Theatre
The National Theatre’s mission is to make world-class theatre, for everyone. The NT creates and shares unforgettable stories with audiences across the UK and around the world. On its own stages, on tour, in schools, on cinema screens and streaming at home, it strives to be accessible, inclusive and sustainable. The National Theatre empowers artists and craftspeople to make world-leading work, investing in talent and developing new productions with a wide range of theatre companies at its New Work Department.
Neal Street Productions
Neal Street Productions is one of the UK’s most respected production companies, producing award-winning film, television and theatre. Founded 2003 by Sam Mendes, Pippa Harris and Caro Newling, it makes distinctive, popular, award-winning projects on both sides of the Atlantic.
In many ways, the film ‘Gulaal’ ‘belonged’ to Piyush Mishra, further cementing his fan base, not just among those who had seen him on stage, but also the younger generation…writes Sukant Deepak
He may have stunned the entire theatre fraternity with the portrayal of Hamlet in the Shakespearean tragedy as a student at the National School of Drama (NSD) and later with his solo performances ‘An Evening with Piyush Mishra’. But for decades, the character’s ghost never left the actor — entering his personal space and clawing up to his very being.
“You cannot imagine the adulteration. A certain arrogance, complete self-indulgence, alcoholism… in my mind, I was the solo actor on life’s stage and everybody else was not supposed to take their eyes off my brilliance. Yes, I committed many mistakes. Confessing them was traumatic, but also cathartic,” he tells, with just the right dramatic pauses.
Mishra, the superstar of Delhi stage with a cult following during his time where he worked with theatre directors like N.K. Shar and Arvind Gaur, and also wrote the play ‘Hamlet Bombay Nahin Jayega’, besides ‘Gagan Damama Bajyo’ , shifted to Mumbai to start life again after the age of 40, and his recently released book ‘Tumhari Aukat Kya Hai’, published by Rajkamal Prakashan Samuh traces not just his artistic journey but also reinvention.
“The first experience in Mumbai had been traumatic. It left me broken on many levels, but by the second one, I had emerged from the image I had created in my own eyes. This Piyush was now a more open person, a hint of spirituality had entered his life, and he did not dismiss new experiences. He had left the artistic arrogance in the green room and realised he was not the only one on stage now,” Mishra says.
He adds that writing the book as an autobiography was utterly boring. Thus, he decided to work on it as a novel and changed names. “Ninety per cent of what you will read is factual. Of course, anyone familiar with theatre and cinema circles will know who I am talking about even though names have been changed.”
Talking about his meeting with filmmaker Anurag Kashyap, who used to watch him rehearse and perform as a student in Delhi, Mishra recalls calling him after watching ‘Shool’ (1999) to praise the film’s script. “He was tongue-tied. He used to admire my work back in Delhi. Kashyap invited me to his office where a few music directors were sitting — trying to sell their songs for ‘Gulaal’ (2009). I just could not listen to the horrible numbers they were pitching, snatched the harmonium, and started singing the ones I had composed during my theatre days. Anurag’s smile said it all,” he recalls.
In many ways, the film ‘Gulaal’ ‘belonged’ to Piyush Mishra, further cementing his fan base, not just among those who had seen him on stage, but also the younger generation.
While the book narrates his life experiences, his internal journey, and how he reinvented himself — a very important and ‘quiet’ character is his wife Priya. The School of Planning and Architecture (SPA) pass-out who fell in love with his poetry, saw the star rising, falling, and rising again. “She is the one who held everything together. During my Delhi days, I would leave home for rehearsals at 6 am and come back at 11 pm — and often drunk. The woman deserves a prize for putting up with someone like me.”
An actor, writer, lyricist, and singer, who can casually say – “I am gifted, not talented”, and get away with it makes it clear that he does cinema only to make money. “It is a profession, and it ends there. I realized long back that just following passion madly does not make anyone otherworldly, just leaves him broken — on every front. I still do theatre and have my music band — they keep life interesting.”
Mishra is quite happy with the reception his band ‘Ballimaaran’ has been receiving across the country. “We have been able to tap into the energies of the young — they are open to new music and experiments. I am thoroughly enjoying myself.”
Stressing there is no killer ambition anymore, he adds, “I have worked in some good movies, written songs, done excellent theatre and now travelling with my band. Yes, I would like to direct a film one day if I get a good script. Rest… life is alright, I can sleep well.”
As the conversation veers towards extreme trolling and calls for banning some films by a section of the right wing, Mishra says it is best to ignore to them. “Frankly, I do not think they should even be acknowledged. Of course, this does not mean that one is apolitical. We all have to choose a side ultimately.”
Bringing back the euphoria of live theatre(ianslife)
What is special about the sixth season is the fact that Aadyam crosses the ‘Mumbai barrier’ and has included plays, actors and directors from other regions as well…writes Sukant Deepak
Back on stage after two years of hiatus owing to the pandemic, the sixth season of Aadyam Theatre, an initiative by the Aditya Birla Group, boasts of a mix of the proscenium and experimental shows that will be performed in both Mumbai and Delhi. This is besides several new theatre-centric activities, housed under ‘Aadyam Spotlight’, such as theatre podcasts, workshops, a theatre club, and an exclusive theatre blog.
“It feels brilliant to be back again to physical theatre. Frankly, it’s like we are breathing anew,” smiles Shernaz Patel, Artistic Director (along with Nadir Khan) of Aadyam Theatre, who believes that digital theatre born during the pandemic in India, though gave an opportunity to perform or create but was mostly consumed by the theatre community.
“Theatre is a live medium and its energy and magic just cannot be replicated on the computer screen,” she asserts.
What is special about the sixth season is the fact that Aadyam crosses the ‘Mumbai barrier’ and has included plays, actors and directors from other regions as well.
With stress on work that appeals to a larger audience, the curation committee comprising Kyla Dsouza, Purva Naresh, Ira Dubey and Patel was looking for multiple genres, diverse themes and different styles to make the season stand out.
“We have urban and rural stories, musicals… for us it had always been important to have solid themes handled by visionary directors, something that makes this season extremely well-rounded,” she says.
Talk to Patel about the fact that the few corporates funding theatre limit themselves to groups, mostly in Mumbai and she admits it is tough to get them on board at the developmental level.
“I honestly feel that it is the government that needs to step in, just like we see in the West. The corporate sector is already doing enough for other areas through its CSR activities. For grassroots work, developmental work, supporting young, new theatre talent and experimentation… it is the government that needs to do the needful.”
While one witnesses several emerging writers in prose in India, actor and director feels that there are not many emerging voices when it comes to writing for theatre, though an award like the annual Sultan Padamsee Playwriting Award gets over a hundred entries each year.
“Let us not forget that there is no money in this medium. So if a person really knows the craft of dialogue writing, he will go to films or television. Young playwrights do emerge from time to time, but then life takes over. When we talk about modern Indian writing, we are still referring to what was written three generations before. Should it not be by writers who are in their twenties?” says Patel, who finished shooting for an OTT show in November.
NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)
Home is a film about Fulmani, a resident tea plantation worker, and her impending retirement. In order to keep her home after she retires, Fulmani must send her daughter Aarti to take her place at the plantation…reports Asian Lite News
It’s an exciting time since the spotlight is now shining brightly on the performers on stage. The NCPA produces, performs, and hosts world-class theatrical productions that delight, challenge, and inspire. And the stage is abuzz with a fantastic line-up of presentations.
Coming up in February:
Reality Check (The Show Must Go On) I An NCPA Presentation in collaboration with Cinema Collective
The 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.
After decades of dormancy, the aging icons of Parsi theatre return to the stage, putting aside their walking sticks and wheelchairs. Plunging into rehearsals, this documentary chronicles the resilience of a singular cast of characters that want nothing more than to go out with a bang. For most of them, it will be the last time on stage after careers spanning over half a century. As the film tumbles headfirst into the creative chaos of rehearsals, we get an intimate portrait of the bonds shared between veteran stars and youngsters, along with a distinct flavor of their sensibilities, marked by a particular brand of not-so-subtle humor that is uniquely their own. The actors want to put up the best show they can. In a way, this film is also very much about celebrating old age. About how people considered well past their prime, still have so much to give, while being their flawed and joyous selves. A great tragedy befalls the cast on the eve of the final show. Will it change everything? Or will the show go on, despite all odds?
Date – Friday, February 3
Time – 5.00 p.m. and 7.30 p.m. (Followed by a discussion)
Venue – Godrej Dance Theatre, NCPA
Tickets – Free Entry, on a first come first serve basis
Documentary Film Screening| English, Hindi & Gujarati | 60 mins
Lavanyavati (Premiere Show in Mumbai) I An NCPA Presentation in collaboration with Kali Billi Productions
Lavanyavati is a performance devised in collaboration with Lavani and Tamasha artists. In this performance, we follow the journey of Lavani through the years. The dance form, which is part of Maharashtra’s folk tradition, has evolved over time with changes in social, political, and cultural developments as well as changing audience preferences. It has not just survived but thrived through these changing times and has become a part of contemporary cultural identity. Starting from the traditional form of Tamasha and Sangeet Bari performed mainly in rural areas and smaller towns of Maharashtra, it has also reached audiences in metro cities like Mumbai.
Exploring the meaning of Lavanyavati (one who performs Lavani), we start our journey from the early 1800s till today. In this performance, we look at Lavani and Lavanyavati through the lens of legacy, gender, and modern feminism.
The performance is devised in the form of documentary theatre. Along with live performances of Lavani songs, we share stories, archival material like family photographs, video interviews, and contemporary works like our collaboration with the Agents of Ishq and Paromita Vohra.
Dance Performance in Documentary Theatre |Marathi, English| 90 mins
Date – Saturday, February 4
Time – 5.00 p.m. & 7.30 p.m.
Venue – Experimental Theatre, NCPA
Tickets – Book Here
Dekh Behen (99th & 100th Show) I An NCPA Presentation in collaboration with Akvarious Productions
A big fat Delhi wedding is underway. Merely hours before they need to put up their rehearsed item number, five bridesmaids catch up, gossip, eat, drink and bitch about their identical outfits. But that is not the only thing they have in common. They all dislike the bride. Akvarious Productions presents an all-female cast and crew in a bittersweet comedy about daughters, girlfriends, mothers, sisters, and wives, and getting through one wretched shaadi ka function.
English/Hindi Play | 100th Show| 18+| 70 mins
Date – Sunday, February 5
Time – 4:30 p.m. and 7 p.m.
Venue – Experimental Theatre, NCPA
Tickets – Book Here
One Week And A Day I The Indian Express Film Club screening in association with NCPA & Embassy of Israel
One week and a day is a bittersweet drama about families, neighbors, and the glue that keeps people together. A grieving father steals medicinal marijuana from a hospice, skips work, and hangs out with his estranged neighbor’s son, while his wife tries to get back to her daily routine as she fights off school teachers, stray kittens, and dental clinic workers.
Hebrew Language with English Subtitles | 98 mins
Date – Tuesday, February 7
Time – 6.30 p.m. (Followed by a discussion)
Venue – Godrej Dance Theatre, NCPA
Tickets – Free Entry, on a first come first serve basis
The film screening will be followed by a discussion with Shubhra Gupta, Film Critic, and The Indian Express. The Book Of Dust I An NCPA National Theatre Live (London) Presentation
Elevator pitch: Set 12 years before the epic His Dark Materials trilogy, this gripping adaptation revisits Phillip Pullman’s fantastical world in which waters are rising and storms are brewing. Two young people and their demons, with everything at stake, find themselves at the center of a terrifying manhunt. In their care is a tiny child called Lyra Belacqua, and in that child lies the fate of the future.
Screening | English | 3hrs | 6yrs+ Date – Wednesday, February 8
Time – 6:00 pm
Venue – Dance Theatre Godrej, NCPA
Tickets – Book Here
Comedy for Comedy’s Sake I An NCPA-Off Stage Presentation in collaboration with Comedy Ladder
Valentine’s Day is for Love but also for broken hearts. A breakup is part of life, and if you haven’t had your heart broken, this is a great place to learn how it may happen and how to deal with a broken heart. Come and watch some very funny comics talk about their past relationships and share their experience. Comedy | English, Hindi | 16yrs + | 1hr 30mins
Date – Tuesday, February 14
Time – 7.00 pm
Venue – Dance Theatre Godrej, NCPA
Tickets – Book Here
Readings In The Shed – Letters of Love I An NCPA Off-Stage Presentation?
When was the last time you wrote a love letter? Or penned a quick note to your beloved? In these times of beeps and pings, ink and pen messages seem to be losing their relevance. Until you come across an old trunk or a shoebox, scoot the dust bunnies off, that is. And lo and behold, they emerge…on yellowed paper and in faded ink, words that are, or deserve to be, immortal. Join us as we dig through the archives of some famous folk to uncover love stories that have lived on. Readings in the Shed presents the fifth edition of Letters of Love?
Storytelling | English, Hindi | 2hrs
Date – Tuesday, February 14
Time – 7.00 p.m.
Venue – Tata Garden, NCPA
Tickets – Book Here
Aurat Aurat Aurat I An NCPA Presentation in collaboration with Motley Productions
An all-female cast enacts selections from Ismat Chughtai’s autobiography, and three other writings (Ek Shauhar ki Khaatir, Aadhi Aurat Aadha Khwab, and Soney ka Anda) which are essays rather than stories, reflecting Chughtai’s abiding concern for the state of womanhood, her impatience with empty rituals and her anger at the condescension women are subjected to.
Drama| English, Hindi| 2hrs | 12yrs
Date – Saturday, February 18
Time – 4:30 p.m. and 7:30 p.m.
Venue – Experimental Theatre, NCPA
Tickets – Book Here
Bhagi Hui Ladkiyan (Theatre Group from Delhi) I An NCPA Presentation in collaboration with Aagaaz Productions
The play explores the actors’ gendered bodies and their relationship with the self, others, and public spaces-the piece uses objects, physical theatre, and cartography to devise a thought-provoking experience.
These stories begin on a random day. These are first-hand retellings of day-today in Nizamuddin Basti. The spectator is invited to enter the performer’s world through the everydayness of the narrative. The stories begin to twist into tales of how gender and sexuality play out in the lives of the four actors. Conversations about family, trust, consent, personal space, and gender dynamics begin to surface. Their questions and confusions about their identity and how they are perceived within the boundaries of their home and their community, come forth through their words and actions.
The play attempts to highlight the contrast between the confining yet comfortable quality of the home space and the liberating aspects of the outside world. The differences between ‘who I am’ and ‘how people see me’ guide the explorations that the performers embark on. The audience is invited to experience the happenings through a gender-sensitive lens.
Drama | Hindustani | 1hr 5mins | 13yrs+
Date – Sunday, February 19
Time – 7 p.m.
Venue – Experimental Theatre, NCPA
Tickets – Book Here Taking Sides I NCPA Presents the Company Theatre production
The play is set in post-World War II Germany, during the period of ‘denazification’. While on the surface the play is about the investigation of a world-famous music conductor of that time-Wilhelm Furtwangler-it takes on larger discussions and motifs spanning music, art, culture, life, politics, morality, ethics, and more. Drama | English | 2hrs 5mins Date – Saturday, February 25
Time – 5.00 p.m. & 8.00 p.m.
Venue – Experimental Theatre, NCPA
Tickets – Book Here
Short Film Corner I An NCPA Presentation in collaboration with White Wall Screenings
Home I Hindi film with English subtitles (13 mins)
Home is a film about Fulmani, a resident tea plantation worker, and her impending retirement. In order to keep her home after she retires, Fulmani must send her daughter Aarti to take her place at the plantation. But this decision comes at the cost of her daughter’s future, which she had hoped to protect from an exploitative and back-breaking labor system.
Home 2 I Hindi film with English Subtitles (12 minutes)
One afternoon, 7-year-old Inaya is suddenly unable to recognize her own parents and starts feeling like a captive in her home. Her parents call the therapist to uncover the mystery of what happened to their child. Soul-Kadhi I Hindi film with English subtitles (13 mins)
In the upside-down realm of the night, an orphan daughter-in-law and her mother-in-law develop an uncanny bond. Secrets are spilled, recipes shared and late-night thoughts exchanged that will set them free…literally.
Date – Friday, February 24
Time – 6.30 p.m.
Venue – Little Theatre, NCPA
Tickets – Free Entry, on a first come first serve basis
NCPA’s Indian Music Line up for February
The NCPA embraces all the major strands of Indian music and continues to feature a wide spectrum of artistes – from up-and-coming to top-ranking and living legends. The range of genres is equally diverse – from pure classical, and semi-classical to devotional, light, regional, folk and cross-over music. The unique thematic element associated with each property makes it exclusive. Over the past decade, NCPA’s thematically curated Indian music festivals have been appreciated by artistes as well as audiences worldwide. Coming up in February:
L. Subramaniam
Sama’a : The Mystical Ecstasy
Festival of Sufi Music (4 events)
Rangreza: a musical presentation based on Sufi poetry
When: Friday, February 10, 6.30 p.m.
Where: Experimental Theatre, NCPA
Tickets: Book My Show
Concept & narration: Suhail Akhtar Warsi
Singers: Girish Sadhwani and Pooja Gaitonde
About the performance: The pain of separation from the Creator is at the core of Sufi lyrics and music. Themes and styles established in Arabic, Persian and Punjabi-Sindhi poetry have had an enormous influence on poetry and music throughout the Sufi world. While saint-philosophers like Rumi, Lal Dedh, Kabir and others, have fervently expressed their love and longing for the Divine through their poetry, we find similar thoughts also being echoed in works of others like Mir, Ghalib, Tukaram, Rabindranath Tagore, Swami Vivekananda, Chaitanya Mahaprabhu and many Bhakti poets across ages in numerous languages.
Rangreza portrays hues of the ultimate truth as revealed by numerous philosophers from Amir Khusrau, Baba Bulle Shah and Meera Bai, to Guru Nanak, Shahbaz Qalandar and such others who wrote in various dialects such as Awadhi, Saraiki, Behawalpuri, Multani, Hindustani, Hindavi and Punjabi.
In a style that has a harmonious blend of traditional and contemporary musical elements, the presentation will showcase the similarity of thoughts underlying the diverse poetic works, highlighting the universality of the truth.
Ovi Ovi Gumphali
An Ode to Rumi: Presentation based on the Poetry of Mevlana Rumi by Kabir Bedi
When: Saturday, February 11, 6.30 p.m.
Where: Experimental Theatre, NCPA
Tickets: Book My Show
Concept & design: Jai and Taru Talwar
About the performance: Jalal ad-Din Muhammad Balkhi (1207-1273), popularly known as Mevlana Rumi, was a 13th-century Persian poet, jurist, theologian and Sufi mystic who composed one of the crowning glories of Persian literature, which profoundly affected the Persian cultural sphere of Khorasan.
Although originally written in Persian, Rumi’s poems have been widely translated into many international languages including Urdu and Punjabi. Rumi’s works transcend national and ethnic borders and seem to be relevant even today across varied cultures.
Blessed with a sonorous voice, Kabir Bedi, one of India’s best-known international actors, will read a selection of poetry penned by Rumi.
The presentation will be divided into five parts: The Seeker, Finding Love, Tasting the Divine, The Awakening and Union with the Divine.
Suhail Akhtar Warsi & Pooja Gaitonde
Rumiyana: a journey within
Presented by The Ishara Puppet Theatre Trust
When: Sunday, February 12, 3.30 p.m. & 5.30 p.m.
Where: Experimental Theatre, NCPA
Tickets: Book My Show
Direction & design: Dadi D. Pudumjee
Text & animation: Shaaz Ahmed
Music: Sandeep Pillai
Language: English
Duration: 60 mins
About the performance: Rumiyana is a multimedia musical puppet theatre performance based on Mevlana Rumi’s work, Masnavi, whose influence transcends national borders and unites people of all races, nationality, and gender across the globe, owing to the universality of his thoughts.
Enacted by two performers, the master and the student, the performance is synergised with dancers, puppeteers and visual theatre with specially composed music.
The dialogue of the story which is narrated at the threshold of a door unfolds a journey within, to unravel the path outside. Four stories emerge out of a single narrative to tell a tale of seeking and receiving, from being the light to spreading light to shining bright – the Unity of vision.
The presentation with animations and projections explores the concept of pluralism, and unity of all existence, as one. It uses the metaphors of soul, body, and shadow to realise the idea of the true self. It promotes unity, love, and peace, by the celebration of diversity, for there are, as many ways as there are seekers.
Raga Rang – Parthiv Gohil
Within: songs of the sacred
By Sonam Kalra & The Sufi Gospel Project
When: Sunday, February 12, 7.30 p.m.
Where: Tata Theatre, NCPA
Tickets: Book My Show
About the performance: Delve into a deeper understanding of the true meaning of Sufism as Sonam Kalra, a multifaceted singer and composer, seeks to blend the many voices of faith, through poetry, prayer and music to create one universal voice of faith.
In this presentation, prayer and poetry from different languages and religions come together to create a sound that touches every soul. The mystic poetry of Sufi poets like Kabir, Bulleh Shah, Amir Khusrau and Zaheen Shah Tajji are presented to highlight the one absolute truth; that God is within. Where the call to Allah finds resonance in the ever-soothing Sikh morning prayer and Vedic chants, where the poetry and ideologies of Sufi mystics from across the world find common ground across time and region, and where Indian classical sounds seamlessly flow into the Western accompaniment.
Thus, the lines between religions are blurred through the beauty of note and music, revealing that no matter what the language of the lyrics or the ethnicity of the sounds, there is but one language, the language of faith.
And that is the universal truth.
Ovi Ovi Gumphali: Celebrating Marathi Language Day
An NCPA Presentation In association with the Directorate of Cultural Affairs, Government of Maharashtra
Concept & Presentation: Dhanashree Lele
Supported by Preeti Joshi, Deepti Joshi
Music Arrangement: Vikram Muzumdar
When: Friday, February 24, 6.30 p.m.
Where: Experimental Theatre, NCPA
(Event to be presented in Marathi)
Entry – Free on a first come first served basis Sonam Kalra
About the performance: Marathi, like many other languages, is endowed with a rich vocabulary. Oral tradition associated with it also shows a wealth of literary forms. Ovi is one such form used as a medium of expression, mainly by the so-called “illiterate” women folk while they engaged in the drudgery of household chores. Couched with the most appropriate words capable of expressing finer shades of emotions, the verses of ovi are meant to unequivocally state the Universal truth in the simplest manner. Moreover, plain yet sonorous tunes to which they are set, make a mesmerising impact on listeners. Today, while many Marathi words are going out of vogue from colloquial usage, the ovi literature seems to still retain some priceless age-old expressions.
Dhanashree Lele is an impressive orator, award-winning author, scriptwriter and multilingual compere renowned for her scholarship in Sanskrit literature and spiritual subjects.
Organised on the occasion of Marathi bhasha divas, this event aims to showcase a range of literary forms from the oral tradition of Maharashtra. Besides presenting some ovis with their original tunes, the event will also feature allied forms like bhav geet, bhakti geet etc., including a few that have been used in Marathi films.
NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)NCPA stage is abuzz with a fantastic line-up of presentations.(photo:IANSLIFE)
Raga Rang: Raga-based songs from Hindi films of yesteryears
Parthiv Gohil & group
In association with Sahachari Foundation Events
When: Saturday, February 25, 6.30 p.m.
Where: Tata Theatre
Tickets: Box office opens on 29th of January, 2023
About the performance: This thematic presentation showcases gems of poetry and musical works featured in old Hindi films that are based on classical ragas and raginis. These timeless melodies continue to enthral listeners even today.
Having trained with several reputed masters like Laxmipati Shukla and Zia Fariduddin Dagar, Parthiv Gohil went on to become a playback singer performing for a host of films like Devdas, Saawariya, Vada Raha and others. His other projects include participation in the iconic song Phir mile sur mera tumhara and MTV performance with reputed artistes. Notable among the numerous awards received by Parthiv include best playback singer for the Gujarati films in 2007 & 2009. Parthiv and his group will present a special selection of geets and ghazals written by iconic lyricists and composed by legendary film music composers of the yester years.
