The Script, July 2010 - Issue 7

30th June marked not only the end of the month, but also the end of the Himanshu Era at Q Theatre Productions / Thespo. Himanshu has moved to the colder pastures of Canada and will be missed by all of us. We hope that in the days to come he can be with us 'virtually' and may be continue to publish this newsletter. We hope.

This month has a lot of "Brand New"/ "Announcing"/ "For the first time in Bombay" theatre events lined up. Ram Ganesh Kamatham's 3 productions premier in Bombay as well as Makarand Deshpande's closely guarded 'Poha Gone Wrong' and AKvarious Productions' much awaited 'A Guy Thing'. We are also "announcing" THESPO 12 this month and Confessions returns (once again) to Thespo at Prithvi.

In this month's issue, Dolly Thakore tell's us about the NSD auditions in Bombay, Jamal Iqbal shares theatre stories from Dubai, Sneha Nair reviews Ranga Shankara's Robinson and Crusoe. Also, Q gives us a list of '10 New Plays to Come to Bombay' and Akarsh Khurana toasts last month with a 'June Bug'.

Trivia Time: Interesting trivia facts about Shakespeare's Globe Theatre.
Great Text: What are we going to read this month?
QTP Workshops: Actors Intensive in progress.
Thespo 12: Announcing the plans at the Orientation Meeting this month.
Thespo at Prithvi: Confessions returns to Prithvi Theatre.
Point of View: Sneha Nair shares her views on Ranga Shankara's 'Robinson and Crusoe'.
4 Corners: Jamal Iqbal shares his experiences with theatre in Dubai.
AK's Various Thoughts: Akarsh Khurana shares his month of theatre in June.
Dolly Thakore's 'Life in Theatre': Dolly Thakore tells us about the western region auditions for NSD.
Q's Countdown: Q shares with us 10 new productions coming up in Bombay.
Up & Coming: Complete Schedule of what to watch in July.
Theatre Training: Workshops!
Other Theatre News: Details of Writer's Bloc 3.
Curtain Call: Garson Kanin on plywrighting.

Yours Sincerely,
On Behalf of Q Theatre Productions,

Toral.
Editor, The Script

Trivia Time

Globe Theatre Facts
Interesting, important and even little known facts about the Globe theatre.

§ Shakespeare and his company built TWO Globe Theatres!

§ Many Londoners were strict Protestants - Puritans in fact, who abhorred the theatres and many of the people they attracted and in 1596 London's authorities banned the public presentation of plays and all theatres within the city limits of London. All theaters located in the City were forced to move to the South side of the River Thames leading to the building of the first Globe Theatre in 1598.

§ The Globe was built in a similar style to the Coliseum, but on a smaller scale - other Elizabethan Theatres followed this style of architecture - they were called amphitheatres.

§ A crest displaying Hercules bearing the globe on his shoulders together with the motto "Totus mundus agit histrionem" ( the whole world is a playhouse ) was displayed above the main entrance of the Globe Theater. This phrase was slightly re-worded in the William Shakespeare play As You Like It - "All the world’s a stage" which was performed at the Globe Theater.

§ The Globe Theater had a 1500 plus audience capacity. Up to 3000 people would flock to the theatre and its grounds

§ There was no heating in the Globe theatre. Plays were performed in the summer months and transferred to the indoor playhouses during the winter.

§ Advertising - Flags were erected on the day of the performance which sometimes displayed a picture advertising the next play to be performed. Colour coding was used to advertise the type of play to be performed - a black flag meant a tragedy , white a comedy and red a history.

§ Elizabethan theatres were also used for bear baiting, gambling and for immoral purposes

§ At the start of the play after collecting money from the audience the admission collectors put the boxes in a room backstage - the box office

§ During the height of the summer the groundlings were also referred to as ' stinkards ' for obvious reasons

§ In Shakespeare’s time copyright did not exist! Rival theater companies would send their members to attend plays to produce unauthorised copies of plays - notes were made and copied as quickly as possible.

§ Special effects at the Globe were also a spectacular addition at the theater allowing for smoke effects, the firing of a real canon, fireworks (for dramatic battle scenes) and spectacular 'flying' entrances from the rigging in the 'heavens'.

§ In just two weeks Elizabethan theaters could often present “eleven performances of ten different plays”.

§ There were no actresses. Female characters had to be played by young boys. The acting profession was not a credible one and it was unthinkable that any woman would appear in a play.

§ Many of the boy actors died of poisoning due to the vast quantities of lead in their make-up

§ Shakespeare's first biographer, Nicholas Rowe, referred to a role performed by William Shakespeare at the Globe theatre as "the Ghost in his own Hamlet" in which he was was "the top of his performance".

§ Fire at the Globe Theatre broke out in June 29 1613.

§ The second Globe Theatre was built shortly after in 1614.

§ The Puritans ended the Globe Theatre. In 1642 the Puritan Parliament issued an ordinance suppressing all stage plays. The Puritans demolish the Globe Theatre in 1644.

§ The site of the old Globe theatre was rediscovered in the 20th century and a reconstruction of a New Globe Theatre has been built near the spot.

QTP Workshops

ACTORS INTENSIVE

IT’S BACK!!! 1 Year after our last workshop, we are conducting our one weekintensive acting workshop called ‘ACTOR’S INTENSIVE’.

The workshop will cover:

1) Voice work and body language

2) Major acting styles like the method, commedia, etc

3) Scoping out emotions, expressions and getting into character.

4) Playing of a text & character

The workshop will culminate into a short dramatisation on the final day to be performed for friends of the group.

The entire course is designed as a workshop and there is virtually no sitting at a desk.

The emphasis is that the actors must do, so the group is treated like a theatre troupe and all topics are covered as though they were rehearsals and improvisations.

Timings : 10am to 6pm.

Date : 4 to 11 July 2010

Charges : Rs 10,000/-

(special discounts for former QTP workshop students)

REGISTRATIONS NOW OPEN! LIMITED 8 SEATS ONLY!!! HURRRRRYYY!!!!

For more details please call 26392688 or email us on qtheatreproductions@gmail.com

Great Text Reading - come read a play with us.

On the last Monday of every month people meet in Q's drawing room to read a play they may have heard of but not necessarily have read. Writer's come to see how the greats wrote, actors come to play multiple parts and theatre lovers come because it keeps them in touch with the art form. It is open all and everyone takes turns in playing characters from the play. Discussions ensue after over tea and biscuits.
Last month we read Swiss playwright, Friedrich Durrenmatt's 'The Visit'.

The play, originally titled 'Der Besuch der alten Dame' tells the story of an elderly millionairess who, merely on the promise of her millions, swiftly turns a depressed area into a boom town. But the condition attached to her largesse, which the locals learn of only after they are enmeshed, is murder.

Fortunately, the rain Gods were kind and we had a wonderful turnout. I say fortunately, because the play has over 30 characters. The unanimous response was that it was a 'fun' play and some regulars even went as far as saying that they enjoyed it more than Jerusalem!

In the month of July, we will be reading The Laramie Project is a play by Moisés Kaufman and members of the Tectonic Theater Project.

The play revolves around the reaction to the 1998 murder of University of Wyoming gay student Matthew Shepard in Laramie, Wyoming. The murder is widely considered to be a hate crime motivated by homophobia. It draws on hundreds of interviews conducted by the theatre company with inhabitants of the town, company members' own journal entries and published news reports. It is divided into three acts, and eight actors portray more than sixty characters in a series of short scenes.

We will be reading it on the 26th of July at 7:30pm at 18 Anukool, Sq. Ldr. Harminder Singh Marg, 7 Bungalows. Next to Daljit Gym. All are welcome. If you need directions call Quasar on 26392688 or 9821087261.

Thespo 12 - Orientation Meeting

Founded in 1999 by Theatre Group Bombay (TG), India’s oldest English language theatre group, Thespo has been created to give young performers (under the age of 25) an opportunity to hone their talents, in the simulated environment of professional theatre. Giving teams the best infrastructure available, so that they can produce the best work possible. Guidance in terms of technical and dramatic knowledge is also provided to the teams.

From the humble beginnings of a one-act play festival, the movement has grown into a round the year activity - with Thespo at Prithvi happening on the first Tuesday and Wednesday of every month and an Annual National Festival organised every December.

This year Thespo 12 will be held in December 2010 at Prithvi & NCPA Theatre. Announcing all the plans at the:

THESPO 12 ORIENTATION MEETING

If you are under 25, interested in theatre and looking for an opportunity, Thespo 12 is here for you. Find out how you can get involved in acting, writing, directing, graphic design, film-making, and much more!

At 4pm on Saturday 31 July at Prithvi House

How you can get involved:

* Stage a Play: Any play on any topic. Must be at least 1 hour long.
* Short performances in a non-regular space are held before every show. (Includes mime, short plays, poetry reading, monologues, etc.)
* Attend a Workshop: Workshops each month conducted by eminent theatre veterans on a variety of topics.
* Design A Poster: Poster designing competition, where participants design posters for the short listed plays, which will be exhibited at the festival.
* Write an Article: Submitting an article on theatre for the festival magazine.
* Join Team Thespo: Design posters, sets, interior décor, work in PR, marketing, backstage, lighting, interact with theatre professionals, organize performances and a whole lot more.

Thespo is on the lookout for 3 people, who would be part of the organising team.

For an overview of last year's festival, watch the video here.

For further details: 2639 2688 /Join 'Thespo' group on Facebook/ thespo@gmail.com

Thespo at Prithvi - Confessions

Confessions is back after 6 months! For those of you who haven't haven't already seen it, it is a black comedy which tells the tale of Katurian, a fiction writer living in a police state who is interrogated about the gruesome content of his short stories, and their similarities to a number of bizarre incidents occurring in his town.

Written by Oscar and Tony Award winner - Martin McDonagh.
Cast : Divyang Thakkar, Divyesh Vijayakar, Kashin Shetty, Siddharth Kumar, Manasi Rachh and Amol Parashar.
Directed by Kashin Shetty
A Le Chayim Theatre Presentation
Winner of Outstanding Play, Outstanding Male Actor and Outstanding Supporting Male Actor at Thespo Bangalore 2006.

Tuesday, 6th July at 9:30pm
Wednesday, 7th July at 6:30 & 9:30pm
At Prithvi Theatre, Juhu.
Tickets Rs.80/- only.

*STRICTLY FOR ADULTS*

There will be a platform performance on both days at 8.30pm:

‘Jaago Re’ – IIT Bombay’s street play aimed at awakening the youth and bringing to their attention how much the country needs them.

Point of View - Sneha Nair reviews Robinson and Crusoe.

An entertainer across borders.

Robinson And Crusoe is a children’s play as Roald Dahl is children’s literature. While it is a light-hearted entertainer that children will love, it comes with a plotline that even the accompanying adult would find hard to resist. Set on a roof in the middle of an unknown ocean, Robinson And Crusoe is about two soldiers from different countries marooned together. While one talks in English, the other speaks an unrecognizable tongue. Stuck in a tower of Babel situation their initial reaction to each other is hostility. However, as time passes, they learn to appreciate each other and soon, the distrust gives way to friendship.

While Daniel Defoe’s Robinson Crusoe is often criticized by post-colonial writers to be a colonial novel where the protagonist and Friday are like father and son or master and slave, Robinson And Crusoe with a script only vaguely revolving around the 1719 novel, reads like a subaltern response to it. If Tariq Vasudevan who plays Me-Me is Robinson Crusoe (vaguely), then You-You played by Satya is a sketchy version of Friday – dark, foreign and hot headed. Here they aren’t master-slave or father-son, just friends who work side by side to find a way back to civilization.

The play’s similarity to its namesake book ends here. Through 80 minutes, Robinson And Crusoe directed by Gracias Devraj and written by Nina D’Introna and Giacomo Ravicchio explores the stranded soldiers’ lives as they acquaint themselves with each other. With a growing camaraderie, the two soldiers replace their army fatigues for clothes that they find within the attic of the submerged house. Trying to find a means to survive and to get ashore, the two get nostalgic, get closer and at some point even get drunk. Though the theme of equality in a diverse world makes the play seem like mature fare, kids (and adults) are bound to be enamoured by the play thanks to the physical antics which pumps energy into the narrative. The language barrier between the two characters makes room for plenty of slapstick humour. The play is kept buoyant by the actors who clamber up and down the roof, play pranks on each other and mime exaggeratedly to communicate. An amusing moment in the play is the initial fight sequence which is choreographed in slow motion. However, there is a concept like ‘too much of a good thing’ - despite adding a farce factor to the play some scenes tend to draw out and seem a tad bit pointless. One can’t help but wonder whether the scene in which the soldiers go through a suitcase full of clothing could have been shortened further.

The show stealer however is the awesome set. The Prithvi stage which was covered with a blue sheet had a wooden asymmetrical roof peeking out. The set works brilliantly to create a feeling of isolation right from scene one. As Tariq climbs up the roof to Green Day’s ‘Boulevard Of Broken Dreams’, despite a questionable choice of music, one can feel his loneliness as he jumps up and down the roof or goes into the attic (a trapdoor created on the spine of the roof) only to realize that he is the only one around.

The flawless execution of the light and sound cues only goes further in making the scenes come alive. While it was just a minor aspect, the radio which passes between the soldiers initially and their choice of radio channels defines to the difference between the two.

The desolate setting also gives the play a sense of timelessness. Leaving the characters and the war anonymous, the writers create an endurance to the play that makes sure it stays relevant across all bounds of time and space. The perfect harmony of script and direction in Robinson And Crusoe is further exemplified when the language difference stops being a barrier between the two soldiers. While You-You starts out as incomprehensible to Me-Me as to the audience, as the characters get friendly and Me-Me drops his exaggerated miming, You-You becomes more accessible to the audiences as well. Towards the end, one begins to see a more friendly side of the formerly aggressive You-You.

The only real grouse one can have after watching Robinson and Crusoe is the fact that the script could have been much tighter if it didn’t try as hard at milking humour from the bonding sessions. The children (especially, the younger ones) kept drifting during the more serious parts of the play. However, each minor aspect of the play goes into making it a memorable watching experience and it is highly recommended for anybody above the age of 7.

Q's Countdown - New Plays in Bombay

10 New plays that are performing in Bombay in the next few months

The monsoon is a wonderfully creative time for the average theatre-wallah. S/he is stuck at home. Can't head to rehearsal. Doesn't want to plan any shows because audiences might not come. So basically s/he sits at home and reads and plots the next venture. The next few months will see a wonderful array of work being staged in Bombay for the first time. These are just a few of them that I want to catch. Here goes 10 plays that are coming soon to a theatre near you:

1. Copenhagen: This one has been in rehearsal for quite a few months. It will star Tom Alter, Vivek Tandon and Dolly Thakore. Written by Michael Frayn, the play is about 2 nuclear physicists who meet in Denmark during World War II. One is a Jew, the other a German Nazi. The special production, directed by Avaan Patel, should open in September.
   
   
2. A Walk in The Woods: At present this production has no real premiere date. It is just a thought in the head of an acclaimed director, who's work is always exciting to watch. The play is about a 2 men on either side of the cold war talking about Disarmament. Hopefully rehearsals will start after the rains subside, and then maybe an early 2011 launch.
   
   
3. Sound of Music: The prolific people at ACE seem to be ready to reboot this all time classic. Many Von Trapp children have been auditioned and it almost definitely will feature Bombay's own nightingale Delna Mody. The musical promises to be big budget and a lot of fun.
   
   
4. Greatest Show on Earth: Another musical from the ACE team (will they ever stop!). This one is actually a new piece of writing by a theatre-wallah who is coming out of self-imposed exile after many years. It sounds fascinating because a newly written Indian musical is not a regular occurrence. Not sure when it will happen though, plans are still in development.
   
   
5. The Rummy Game: An adaptation of the Gin Game, this play had quite an extensive run a few years ago. But when Hosi Vasunia suddenly passed away, the two-hander was put into cold storage. Alyque Padamsee will mark his return as an actor, and play opposite grande dame Sabira Merchant. The show will open in August with a few test performances and then is sure to run in the big theatres. Oh by the way, this one is by ACE as well!!!
   
   
6. Daak Ghar: Sunil Shanbag is continuing his fascination with great plays. After using Sakharam Binder and No. 1 Mahadevbhai as source material for his plays, he now turns his attention to the Rabindranath Tagore Classic. The show is scheduled to open in August.
   
   
7. A Guy Thing: The play is originally called Dirty Talk, but unfortunately because another production used the name, they had to change this one. It's been quite a few weeks since we've seen a new production from Akvarious, so this one opening end July is no surprise. Starring two of Bombay's most delicious actors Ali Fazal and Neil Bhoopalam, opening night is sure to be packed with women. Originally it screened for Thespo last year, and word is that it would have made it, had they been able to prepare a bit more. But now it makes its 'professional' debut.
   
   
8. Second Hand Emotions: Akvarious has a another production in development. When it will quite develop no one is sure. But Akash Khurana is at the helm, so we know two things: One, the process on creating the play will be unique, weird and exhilaration. And two, it will be quite something to watch.
   
   
9. Bust: This is the latest play from Ram Ganesh Kamatham. And it's coming to Bombay end of July. The show, which opened in Bangalore a few weeks ago, is about 3 women who are searching for an ancient relic in Bangalore. But strangely there are only two women listed in the cast....hmmm....intriguing....
   
   
10. Disappearing Number: This only makes the list because Prithvi have tried so hard to bring the play down for so many years, and finally all the stars aligned and it's coming in August. Complicite's play is about the correspondence between two Mathematicians, Hardy in the UK and Ramanujan in Chennai. I saw it a couple of years ago, and it is quite a visual treat, save for the token Indian elements like the Bharatnatyam dancer and tabla player. But the show makes for arresting visuals and some breathtaking sequences. Pity tickets are priced so high - Rs. 500 to Rs. 2,500.

Well that's the list. Let me know if you have heard of any more shows that are in development and likely to open in the next few months.

Also if there are any 'countdowns' you would like me to...well...countdown, just comment on this page.

Dolly Thakore's 'Life in the Theatre'.

AUDITIONS FOR NSD

NSD – the National School of Drama. For many years the very mention of NSD evoked such awe and envy. Way back in 1962 when perhaps I could have been of an age to apply, I had not even heard of it. I was tucked away in Kanpur pursuing what every woman of substance of that era aimed for – a BA degree.

School and College pumped some theatre adrenalin. But theatre remained an after- office activity.

It was not till 1979 when I was casting for GANDHI that I first walked through the hallowed portals of this theatre temple in Mandi House, Delhi. But that gave me greater insight into the passion, magic, creativity, erudition, energy, and professionalism inspired by its founder Ebrahim Alkazi.

Over the years NSD and its associates have inspired respect and acceptance. Theatre academies, theatre groups, theatre workshops have mushroomed in almost every corner of the country. NSD talent is bursting through our television screens and films.

I gained acceptance by attending/reviewing/judging their various productions.

And NSD standards are not to be trifled with. For years I have been on selection panels auditioning aspirants for drama courses run by an alumnus of NSD, Waman Kendre, for the Mumbai University Theatre Akademi of Dramatic Arts.

A step up was being invited to be on the Panel of the National School of Drama for the Western Region. And what a scintillating, exhilarating two days they were.

I was the outsider amongst a panel of six experts who had been through the NSD grind in their student days. And who were familiar with the nuances to look for and spot in every aspirant.

Among the 38 applicants from UP, MP, Bihar, Gujarat, Maharasthra, and even Kerala, I was willing to accept each one of them – there was so much dedication, devotion, talent. Language was no barrier. But we had to disappoint a few. Some were jettisoned because of their age, some for lack of the basic degree, some showed lack of preparation of the material provided to them in advance, some displayed arrogance and inability to take direction, some were inhibited in expressing themselves, and some expressed prejudices and biases in their theory paper.

Being a reviewer and a critic, my responses were not that of a teacher who would be moulding them in their three years at the NSD.

Past experience had equipped them to detect the non-committed and time-pass candidate. Or those using NSD as a stepping stone into commercial serials and cinema. There were no financial constraints… No physical criteria. . A deserving talent would be accepted come what may!

It was amazing how a timid gentle 23-year-old transformed into a powerful Edmund; or a graceful, honest Gujrati damsel had such a range of expressions; a spiritually motivated aspirant came theatrically dressed; another 23-year-old showed such sincerity in his great body language and strong voice and rhythm; another from Jalgaon mesmerized one with his eyes; another evoked such sympathy with his powerful voice; and the unanimous delight was the teacher from Kerala who performed Tuglak in Kodiyattam with brilliant abhinay reflecting the emotions of the king in his expressions.

A warm comfortable camaraderie had built up during those hours together. But being theatre-committed each one regaled their past experiences and observations from theatre, dance, art, and film. And the most enjoyable break was an imitation of an Astad Deboo performance by the most unlikely panellist that had us giggling for hours

What a worthwhile weekend that was. I now look forward to seeing this new batch on stage.

4 Corners - Jamal Iqbal shares his experiences with theatre in Dubai

Seducing the Valiant: The Desert Monologues

Prologue:

In a place where a PR agent will often be on top of the credits in a Program Sheet, actors’ make-up notwithstanding, THIS isn’t PR Spiel.

In the last year alone, I’ve had the privilege to have shared the stage with writers, actors and directors from Iran, America, Ireland, Phillipines, India, Pakistan, Srilanka, Palestine, Jordan, Syria, UAE, Egypt, Turkey, Netherlands, Latvia, Russia, Australia, UK, Scotland, New Zealand, Brazil, France, South Africa, Morocco, Lebanon, Saudi Arabia (believe it or not)…the list is ever expanding. I can add names to each of these nationalities and cultures..and whoa…we would have the entire cast of 300.

That to me, is the essence of the Arts (performing or otherwise) in Dubai. The fact that there are so many people from so many parts of the world. Most with day jobs. Some that lose jobs and refind new ones. Some that move away. All come together wanting to make films, write plays, act and perform.

And the biggest challenge…to find stories that work across our transient lot.

Here are a few vignettes from my experiences in Dubai.

1 – Directors Wanted

Everyone, and I mean EVERYONE in Dubai is an over the top actor. We love “Fi Comedy” and generally express our thoughts everywhere except when an emotion is needed on stage. And because we are stubborn actors, we carry on…regardless of a cringing audience.

There aren’t many directors around. So everyone ends up trying direction. I was once directed by a first timer who ALSO played the lead. We did NOT block…until the day of the paid performance!

So if there’s a director, who wants a multicultural and multilingual set of actors, drop by. We need to be directed.

2 – O brother where art thou

Unless there is a comedy show or a stand-up, Emaratis are likely to NOT be there. Exceptions - the handful of Emaratiactors themselves.

No, it’s not because they don’t like to mingle. Just that there are NO Arabic plays. NONE. Zilch. Nada.

Not surprising then when a blogger wrote after a performance of ours how happy he was to see his first “Live” play! Grin.

Jokes apart, I’ve had a prominent Emarati gentleman walk out of a play when he heard a monologue from the devil’s advocate on grounds of blasphemy.

But the sad reality is, non-existent Arabic theatre also, unfortunately kills a lot of talented actors when they struggle with English delivery and pitch.

3 – Tabula Rasa

All not hopeless. Let me not make it seem so. Our theatre is still nascent. In its infancy. But with the guts and bravado of the uninitiated, we march forward.

And helping these initiatives are some great teachers who each carry with them their own influences. From Shakespeare and the Masque to the Stanislavsky method to Broadway, there are some great teachers for theatre in Dubai.

Here are some Facebook links I’m pasting…for anyone who wants an in on people who straddle theatre and performance arts in Dubai. They are, as one of them said, the TheatreWallahs of Dubai.

Kemsley Dickinson -

Facebookkeyword: “Drama Workshops Dubai”.

The merry men and women of Kemsley Dickinson throng the theatre scene in Dubai. His Bi-annual Desert Monologues – a workshop culminating in performances are breeding ground for endless actors.

His lesson to me, “Do no’ fukin ad lib. Itain’t your fukin script ma’et”.

Mina Liccione –

Facebookkeyword: “Dubomedy Arts”.

Mina and Ali are the funny people in Dubai. Ex Broadway, she’s great for those that want to learn Physicalisation and Improv.

Her lesson to me: “It’s gonna be fantastic. Just add that pause.”

Miranda Davidson –

Facebookkeyword: “Miranda Davidson Studios”.

Miranda is someone I fear. An acting coach having trained under Michelle Danner, Miranda brings a bit of Hollywood to actors here. Stanislavski, Method, Internalisation, tapping raw emotions.

Her lesson to me: “Stop playing to the gallery Jamal.”

Sol Abiad –

Facebookkeyword: “Star TOO”.

Sol is a self confessed Bourgeoisie Bohemian. Her theatre is inspired byMnouchkine, Peter Brook, Max-stafford Clarke, Viola Spolin, Jersey Grotowski and AgustoBoal. And if you have an appetite for Experimental theatre, she is it.

Her lesson to me: “Acting isn’t about pretending. It’s about convincing.”

4 – SaathiHaathBadhana

The reason, I gave facebook links above is because it IS, the fastest way we found, for building a theatrical community in Dubai. Creating and sharing events on facebook works brilliantly.

No need to waste production money on posters and flyers. Especially in a city SO hit by recession.

Facebook led to the formation of these Amateur groups where everyone literally helps everyone. And Theatre is kept alive. Just give searches for these words on facebook and you’ll find us, the

painted faces.

Drag!

An amateur group that does blackbox.

Backstage

GautamGoenka’s baby, this group encourages directors, scriptwriters and actors.

Dubai Drama Group

Another amateur collective, they look for short plays that they club together to bring theatre evenings.

SWARA

Run by Jessika and AshwinMenon, Swara deal on the performing arts not just limited to theatre but music, dance and art. Fusing them together.

5 – Community Theatre. NOT.

Yes, in a city with more cranes than Shanghai were built some stunning Theatres. And Amphitheatres. And a Community Theatre.All needing tons of dhirhams to hire.

A show I was part of at DUCTAC – the community theatre overran by 45 minutes. The troupe were charged. Another venue for a show this evening has taken us paperwork to the extent of passport submissions for the whole team and authorization from 2 different government bodies to (phew) get a venue.

Unfortunately, the best and most reasonable spaces to perform are still ART GALLERIES.

Collectives like the Shelter, the Jam Jar and the Fridge (yes, facebookkeywords all!) offer cheap arenas to perform. All located in Dubai’s Industrial District. Now a burgeoning art zone.

Often at the cost of acoustics. And lighting.

So that’s it, the bittersweet wonderful world of theatre in DUUUBAI! And after reading all of the above, if you still wish to come to Dubai and experience us and our theatre give me a shout on - where else – but Facebook! The keyword is Jamal H. Iqbal

Epilogue:

I wrote this in office. Between yesterday and today. On my day job as a “non” creative director. And now I shall finish work. And leave office. At 9.30 tonight, me and some other actors will meet at a shisha place. Having finished all our day jobs. The seven of us and a director will start to script and discuss production of our own take on the 7 sins. The whole process of deciding to do the play started on email yesterday. In a few months’ time, we shall stage. Salman from Pakistan. Alexandra from Russia. Mohamed from Egypt. Hassan from Lebanon. Emma from the UAE. Julie from the USA. Assem from Syria. Jamal from India. Us. From Dubai.