Pages

The Script, Edition 3 - March 2011


The weather and the theatre scene have a lot in common this month, its Hot, Hot, Hot!! This month see's the return of some classic plays including 'Mahadevbhai' & 'The Vagina Monologues' and some contemporary hits like 'Miss Beautiful' & 'Refund'. Also World Theatre Day is on 27th of March, and we will have the World Theatre Day address by Jessica Kaahwa from Uganda in our next month's issue.

The QTP juggernaut is rolling fast and furious. 2 years since our last new play, we are proud to present our brand new rib tickler, Nostalgia Brand Chewing, which will premier at the Prithvi before heading down south to Bangalore. Our other plays are performing too - The President is Coming which returned after 2 years at the NCPA last month, as well as Project S.T.R.I.P.
will be at the Prithvi in the first week of March. After showcasing 2 plays last month, Thespo at Prithvi will present 3 plays this month. And not to forget, Great Texts is on the 28th of March. Whew!!!! We hope to see you at these events!!!

Also we continue our quiz section! Every month a new theatre question will be posted - it can be viewed on the right hand side under 'Up Coming QTP shows'. Don't cheat!!!

Last month's question was:Theatre Actor, Carl Baudin of Germany, is credited with the invention of which makeup?

A whopping
83% voted for 'Greasepaint' - which is the Right answer! Well Done!!!

An overview of this month's edition of The Script:

Trivia Time
: Props!
Great Text
: What are we going to read this month?
Nostalgia Brand Chewing Gum: Our brand new play!!
Project S.T.R.I.P.: 30 and still running!!
The President is Coming: ....to the Prithvi!
Khatijabai of Karmali Terrace: A Wrap up of our last show.
Thespo at Prithvi: 3's Company!
Thespo 13: We're Hiring!!
Point of View: Priti Bakalkar reviews 'Rafta Rafta'
4 Corners
: Payal Wadhwa recounts her staging a play in Greece.
Dolly Thakore's 'Life in Theatre': Unusual Performance Spaces
Kashin Baba's Babblings: shares on why he does theatre.
Audience Participation: Mehernosh Bharucha critiques 'The Sound of Music'.
Up & Coming: Complete Schedule of what to watch in March.
Theatre Training
: Children's Workshops and Theatre Professionals Workshop.
Other Theatre News
: Gujurati Theatre Festival at NCPA
Curtain Call
: Arthur Schopenhauer on what it like not going to theatre.

Yours Sincerely,
On Behalf of Q Theatre Productions,

Himanshu.
Editor, The Script

Theatre Trivia - PROPS


A PROP or theatrical property, is an object used on stage by actors for use in the plot or story line of a play.

HAND PROPS are smaller props. Larger props may also be set decoration, such as a chair or table.

The term PROP comes from a time during the renaissance, when theatre companies functioned as cooperatives, pooled resources and divided any income. Many performers provided their own costumes, but special items: stage weapons, furniture or other hand-held devices were considered "COMPANY PROPERTY," thus the term "property," which eventually was shortened to "prop."

The first known props were stylized hand held masks, called Onkoi, used by performers in "Greek Theatre" and have become symbols of theatre today, known as the "comedy and tragedy masks".

The term "theatrical property" originated to describe an object used in a stage play and similar entertainments to further the action.

Technically, a prop is any object that gives the scenery, actors, or performance space specific period, place, or character.

The term comes from live-performance practice, especially theatrical methods, but its modern use extends beyond the traditional plays and musical, circus, novelty, comedy, and even public-speaking performances, to film, television, and electronic media.

Props in a production originate from off stage unless they have been preset on the stage before the production begins.

Props are stored on a prop table backstage near the actor's entrance during production then generally locked in a storage area between performances.

The person in charge of handling and buying/finding the props is called the props master/mistress.

Many props are ordinary objects. However, a prop must "read well" from the house or on-screen, meaning it must look real to the audience.

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.

In the month of February, we read
Tanika Gupta's adaptation of Harold Brighouse's 'Hobson's Choice' - 'the story revolves around Hari Hobson, his three daughters and his struggle to run his dress making business whilst still maintaining control over his increasingly strong willed girls'.

In the month of March, we will be reading Donald Margulies's 'Time Stands Still' - 'James and Sarah, a journalist and a photographer, have been together for nine years and share a passion for documenting the realities of war. But when injuries force them to return home to New York, the adventurous couple confronts the prospect of a more conventional life.'

The play opened in 2010 and was nominated for 2 Tony Awards including Best Play.


Donald Margulies (born 1954) is an American playwright and professor of English literature at Yale University. He received the Pulitzer Prize for Drama in 2000 for his play, Dinner With Friends.

We will be reading it on the 28th of March 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.

Nostalgia Brand Chewing Gum - Our Brand New Play!!


NOSTALGIA BRAND CHEWING GUM

4th & 5th March at 6 & 9pm at Prithvi Theatre
&
11th and 12th March at 8pm & 13th Marc
h at 3 and 6:30pm at Jagriti Auditorium, Bangalore


2 years since our last new play, QTP is BACK!!!!

This time with a brand new comedy about trying not to ‘break down’ after ‘breaking up’!

Nostalgia Brand Chewing Gum will premiere on the 4th and 5th of March at Prithvi Theatre and will head down to Bangalore at the Jagriti Auditorium from 11th – 13th of March

The production will be directed by Vivek Madan, and stars exciting talents Tariq Vasudeva, Diksha Basu, Karan Pandit and Kallirroi Tziafetta.

It happens at least once. To everyone. An awkward situation. Most people weather it, some change because of it, some aren't affected at all and some people even go looking for one. The one thing everyone does - laugh at one. But only when it’s not them.

The play is about Adil, Natasha, Bob and Kara. Sometime friend or lover or colleague or roommate. Not always mutually exclusive. When it all comes together one evening, mixed with copious amounts of memories - it tastes pretty funny!

This will be Bangalore-based director Vivek Madan’s second play for QTP after ‘Children of a Lesser God’ in 2004. This time he decided to revisit a play he had done in 2001 for Thespo.

For tickets and more information call 26392688 or email: qtheatreproductions@gmail.com


Project S.T.R.I.P. - 30 and still running!!

Project S.T.R.I.P.


Our 30th show!!

Thursday, 3rd March at 9:30pm
at Prithvi Theatre



For the second time in as many months, a QTP play crosses the 30 show mark!! Project S.T.R.I.P. will celebrate its 30th show at the Prithvi Theatre this month. Come and celebrate with us!!

In February, we performed at the NCPA to a particularly low house. Surely India vs England had something to do with it. But the reception was heart warming and we'd like to take this opportunity to thank everyone who came for the show and a bigger thanks for all the positive feedback and a bigger bigger thanks for choosing theatre over the World Cup.

Ram Ganesh's comic satire, that perhaps has been 'over directed' by Q comes back to the NCPA Experimental. To play in the round, with the audience on four sides. Truly a unique theatrical experience.

In a small pond, it’s the big corporations that feed on the little fish! A comic satire about deranged corporations, mercenaries-for-hire, and an armed man called Abu and people who just can't seem to get out of the way.


The play tells the story of the discovery of a native island community and their contribution (or lack of it) towards the ‘progress and trade’ of the modern world.

The cast includes Gulshan Deviah, Dilnaz Irani, Tariq Vasudeva, Shruti Sridharan, Neil Bhoopalam and Dhanendra Kawade.

Thursday, 3rd March at 9:30pm at Prithvi

For tickets call Prithvi: 26145946 or or book online: www.bookmyshow.com

For other details call 26392688 or email: qtheatreproductions@gmail.com

The President is Coming.....to the Prithvi!!



Sunday, 6th March at 6 & 9pm
at Prithvi Theatre


2 years after our last local public performance, we returned to the NCPA in February to a rocking show and a rocking response. We now return to the Prithvi Theatre. Be there because......The President is Coming!.

When the play opened in 2007 the cast were relative unknown. Today they make up some of the finest young acting talent the country has to offer: Ratnabali Bhattacharjee, Shivani Tanksale, Namit Das, Kunaal Roy Kapur, Ira Dubey, Anand Tiwari, Satchit Puranik, Choiti Ghosh, and Anup Burte.

Written by Anuvab Pal. Directed by Kunaal Roy Kapur.

'In a dog-eat-dog world of young competitors, reality television and short-lived fame, this comedy explores a day in the life of 8 people will stop at nothing because 'THE PRESIDENT IS COMING'

“Very funny…had the audience rolling in the aisles”
“The cast is terrific…Enjoyable watch”
-
Times of India

“One of the top 5 plays of 2007”
- Hindustan Times

“Pal’s satire is refreshingly witty and sharp lends itself well to the stage with an intelligent mix of action, pace and dialogues.”
“Kunaal Roy Kapur’s treatment of the play is bright stylish and slick…..high dose of entertainment
…succeeds in making the audience have a great time.”
“The effort is laudable for its subversion and its potential to spark very pertinent debates.”
- Mumbai Mirror

“Playwright Anuvab Pal’s entertaining slapstick comedy draws the guffaws… ”
"One particularly hilarious contender is Bangalore based Ramesh S (brilliantly portrayed by Namit Das).”
"The plays facile humour is also laced with irony and wit – after a first half of jibes at the US, the jokes take on satirical overtones.”
-
Hindustan Times

“An entertaining piece of work that was one of the better productions to emerge from January’s Writers’ Bloc festival”
“Pal’s inventiveness allows for buckets of dramatic potential that director Kunaal Roy Kapur exploits successfully.”
-
Time Out


Sunday, 6th March at 6 & 9pm
at Prithvi Theatre


For tickets call Prithvi: 26149546 or or book online: www.bookmyshow.com

For other details call 26392688 or email: qtheatreproductions@gmail.com

Khatijabai of Karmali Terrace - A Wrap up


Khatijabai of Karmali Terrace





After nearly 5 years, Khatijabai performed at the NCPA Experimental. While the World Cup signaled a poor house, those present gave a very warm reception and we would like to thank everyone who came for the show.

Khatijabai of Karmali Terrace is the story of an orphan girl who grows to become the matriarch of one of the more powerful families in newly Independent India. The play about love, family, responsibility and the strength of a woman who 'wraps the family in the web of her providing' has been directed by Q.

Here is what the press has had to say:

The show started and what a show! One actress, Jayati Bhatia, a show stealer of the silver screen, kept the whole hall enraptured with her movements and dialogues. My heart went out to her. I wished so hard that I too could some day act like her. For one hour and fifteen minutes, we were mesmerized by Khatijabai of Karmali Terrace, a Q Theatre Production. And after the show, we all stood there and applauded for a whole 5 minutes, while Jayati just smiled back at us thanking us profusely with folded hands.” – The Assam Tribune

Portrayed brilliantly…deserves applause” – NGAGE, Mumbai.

Brilliantly layered…wonderful portrayal”– West Side Plus, Mumbai.

Vivacious…Skillful…Innovative…Stimulating…Successful” – Time Out Mumbai.

One of the most memorable acts in recent times…standing ovation…brilliant performance..” – The New Indian Express, Bangalore.

"An overall stunning performance" - Mumbaitheatreguide.com

"The stagecraft was immaculate and beautifully executed." - Mumbaitheatreguide.com


For more information, call 26392688 or email us on
qtheatreproductions@gmail.com

Thespo at Prithvi - 3 Plays!!!

Thespo at Prithvi was started in 2007 to provide a more regular showcasing of the best youth theatre talent in the country. Thus every first Tuesday and Wednesday each month, the next generation of theatre wallahs stride across the hallowed Prithvi stage.

Thespo at Prithvi is also providing an opportunity for young theatre groups to showcase their short plays, as a pre show appetizer before the main show on each Thespo at Prithvi show day.

If you have a play that you think can work in the outdoor areas of Prithvi Theatre, email us at thespo@gmail.com

Thespo at Prithvi in March '11

Natak Company returns with their 2 award winning plays as well as a new play.

Natak Company presents Geli Ekvees Varsha

Directed by Aalok Rajwade

Life. Education. Money. Job. Relationships. Insecurities. Drugs. Freedom. Facebook. Sex. Love. Confusion… Has nothing else happened in the last 21 years? A look at being 21 years old in the 21st century. Written by 20 year old Dharmakirti Sumant, the script won the Outstanding New Writing Award at Thespo 11.

This play swept the Thespos for Outstanding Production Design, Outstanding Direction and the Sultan Padamsee Award for Outstanding Play at Thespo 11.

The play is showing at Prithvi Theatre at 6pm on 1st of March

Natak Company presents Dalan.

Directed by Nipun Dharmadhikari

Dalan is a hilarious musical comedy set in a small village in Maharashtra. A tyrannical school master arrives at his new posting and has to reckon with the antics of a lively bunch of school children. To make matters worse, the school master finds he is irresistibly attracted to the mother of one of the students. Adapted from a short story by D.M. Mirasdar, this is a wicked roller-coaster of a play that promises to be a laugh riot.

At Thespo X, Dalan won a slew of awards for Male Actor, New Writing and Outstanding Play.

The play is showing at Prithvi Theatre on 1st of March at 9pm.

Two Spoons Entertainment presents Holi

Directed by Anuj Rawra

A group of college students gather at a hostel room to express disappointment over not getting a holiday for Holi. What begins as a fun-filled hoopla amongst friends slowly turns into a revolt and then into something outrageous.

The play is showing at Prithvi Theatre on 2nd of March at 6 and 9pm.

Tickets now Available. Call 26149546 or www.bookmyshow.com


Thespo 13 - We're Hiring!

Hot on the heels of a phenomenal Thespo 12, work has already begun for India's premier youth theatre festival, which is now a teenager.

We proudly present to you

THESPO 13

We are on the look out for Volunteers who are interested in Marketing and PR.

If you think you are what we're looking for, email us at: thespo@gmail.com


Point of View - Priti Bakalkar reviews 'Rafta Rafta'

RAFTA RAFTA

Rafta Rafta (slowly slowly) a new production from Akvarious Productions, true to its title takes hold of you slowly and stays on with you even when the play ends.

Rafta Rafta is based on a play (by the same title) written by Ayub Khan Din. It opened at Theatre Fest of Indian Institute of Technology (IIT). Quite an unusual place to open a new show. Of course, the next day it opened for us at NCPA when I watched it.

The story, set in Manchester, revolves around two families brought together by a marriage. The play begins with Adi (Aadhar Khurana), the eldest Son of Vishwajeet (Akarsh Khurana) and Suman Malhotra (Kshitee Jog) getting married to Tasneem (Abir Abrar) the only daughter of Khalid (Faisal Rashid) and Fatima Rashid (Ahlam Khan). The wedding is over and the new daughter in law is in the house and friends and families are having a little “after wedding” party at home. Fatima is anxious about how her only daughter is going to adjust in a Punjabi family where she would have to share the house with her in-laws. Khalid is sad that the apple of his eye is going away from him forever. One thing leads to another and there is a fight between the Father and Son when the father humiliates the Son (though unknowingly) in front of the new bride and the family friends and you realise not all is well here.

Time passes by and through the narrations of Tasneem and Adi we realise that even after six weeks their marriage has still not been consummated. Adi is little edgy about it but Tasneem is quite understanding and is confident that the things will happen at their own time. But, things start getting rather ugly as further time passes by without any “action”. The in-laws also start noticing the change in the behaviour of Adi and Tasneem.

In one of her low moods Tasneem confides in her mother, Fatima. Fatima shares her worries with Khalid and they decide to talk to Vishwajeet and Suman about this. While discussing the problems of the children a lot buried secrets from the past of both the families come out in open. Ultimately, both the families decide that Vishwajeet would speak to Adi and try to understand what the problem is. Unwilling Vishwajeet accepts the responsibility, however fails to strike a proper conversation with Adi.

In the meantime, the news has spread among their social circle and Adi gets a rude shock when his lecherous Boss (Adhir Bhat) passes some lewd comments about him and Tasneem which causes in a brawl at the club where he works and results in Adi resigning from his job.

Adi decides to leave his home. While he is packing his bags Tasneem enters their room. He accuses her and doubts her integrity and both get into a fight. In the meantime Khalid and Fatima who are going to India drop by to tell the Malhotra’s about some house on sale for a very cheap price and suggest that Adi and Tasneem should go for it. In the meantime Raj (Hussain Dalal), the youngest son of Vishwajeet and Suman come home and updates the families about the fight at the club between Adi and his boss and also breaks the news that Adi does not have a job anymore. This adds to the worries of both the families. While the families are deciding on how to solve the problem at hand, Adi and Tasneem come with their bags and declare that they are going on their honeymoon. Fatima and Suman on hearing this realise that “it” has “happened”. Vishwajeet offers to help Adi with the house offer which Khalid has got and Adi decides to accept his help. The play ends on a happy note for both the families.

As the play began the first scene was a total chaos. My friends and I were getting uneasy in our chairs not having a clue on what was happening on the stage. A lot of action was happening simultaneously across stage, distracting the attention of the audience. Result, end of the first scene was received with dead silence. Can you imagine that. Opening show and first scene receives no response at all, absolute dead silence. But as the newly married couple got settled and the problem started shaping up it caught up with us and the result... Thunderous applause! It was really crazy to see the transformation.

This play was originally written in 1963 but the subject so very fits to our times also. It was really interesting to see that the audience could connect to the concept. It is sad that even after more than forty years when the play was written impotency of a man, infertility of a woman assumes more significance than their achievements in life and there is still social stigma attached to these things. It was really interesting to watch the problem from the perspective of two families. While Fatima was genuinely worried about the non-consummation of her daughter’s marriage, at the same time she was happy that the problem lies with Adi and not with her daughter.

As I said the first scene was total chaos, but as the problem of Adi intensifies the play picked up really well. Be it frustration of Adi, irritation and helplessness of Tasneem, Suman and Vishwajeet attempts to know what is happening in the other bedroom or Fatima & Khalid’s concern for their daughter and even Adi’s confrontation with his Boss. The transformation was fluid and built up the drama really well.

Apart from these main characters there were a few more social network characters, a few of which could have been edited out since they did not really add to the story as such. The Uncle (?) (Karan Pandit) who must have been someone who was of same age as Vishwajeet but he looked even younger than Adi. Then there was some strange character who kept surfacing on and off. I still do not know who he was!

All the main characters played their parts with great conviction. But the two actors I really want to mention are Faisal Rashid and Ahlam Khan. Both of them were fantastic as Tasneem’s parents. Faisal as a father of a daughter played his part with so much maturity and Ahlam was a class act as a mother who loves her daughter but to a certain extent also looks at her own daughter as a competitor when it concerns her husband’s affection. She was just adorable. Akarsh, a migrant from a small town in Punjab who is still trying to hold on to his Indian roots was really good and was well supported by Ksheeti. There was a scene when Tasneem confides in Fatima, Fatima gets very anxious and was talking really fast but kept on telling Tasneem to go slow to which the look given by Tasneem was just priceless.

The set was really simple two level set. It looked and gave a feel of a home. However, a few times Fatima walked in without anyone letting her in while Khalid always had to knock on the door to be let in. Does Fatima have a spare house key? Barring such few minor hiccups it was a really nice and feel good performance. May be a “Hum Saath Saath Hai" of theatre!! I hope I have not endangered my life with my last comment.

4 Corners - Payal Wadhwa recounts her staging a play in Greece

In Theatrical Greekdom

Payal Wadhwa is an Experience Designer in real life. But swears by theatre. She writes sometimes. Directs, if she really has to. And dances, because it’s so much easier. She’s just wrapped up an MA in Performance Design and Practice from the Central Saint Martins in London and is headed back to write for Writer’s Block this year. She thinks it’ll be fun.

The following is an attempt at describing one of her two performance projects in Greece last summer.

Practice. Devise. Reiterate. Reconsider. Reinstate. Create. Bring it outside the blackbox and the proscenium, the amphitheatre and the auditorium and you find yourself rethinking the process, reimagining the devision, reinstating rules and formulating and evoking dimensions in language, form and space that signify a larger arena for theatre to come into being. After a fabulous stint at working with theatre companies in Mumbai and Delhi, I took up my MA in Performance Practice in awe of stalwarts like Mark Fisher, Rob Howell and Roni Toren with enough dosage of Schechner, Artuad and Brecht that had often worked as soul food on days spent wondering what I really wanted to do. Don’t get me wrong. I loved the work I did for my real job that paid to buy the books and the trips to Prithvi theatre every evening, but I’d been itching to bring together my understanding of scenographic practice and theoretical concerns about evolving performance endeavors and parameters as I looked outside the envelope that theatre in Mumbai facilitated.

As a part of the curriculum at the Central Saint Martins, I qualified for a residency program within the EU. The challenge really was, to pick what I wanted to do. I chose to be one of the six of the thirty classmates to take up an independent residency, sans tutorial guidance, that required us to formulate our own repertoire, find our own theatres and collaborators and create as much work as we could over a period of three months. We chose Greece while the rest headed for balmy Italy for a director-led project, while we arrived on choppy seas on the little island of Hydra holding onto our director’s hats, lest we lose them even before we started.

It couldn’t have been better. A 17th Century traders’ mansion to serve as our thinking jar (with place to house 50 residents while the six of us tried hard to stretch our arms to fill ALL that space), the sea, lots of coffee, the semblance of sunshine and a smattering of languages. Thus was conceived a fairly ambitious plan. With Tom Dutton(England), Aimi Gdula (Scotland), Fiona Carey (Ireland), Adele Han Li (USA) and Ku Sheung (Taiwan), I jumped headfirst into three months of madness and called ourselves, OrMaybeNot. Hara Ioannou, a former graduate from the same course, now a producer and director in Athens jumped in to help us veer around logistical barricades that included language and a completely alien script (some of which isn’t too difficult to get your head around if you stayed alert through maths and physics classes in school. An A is an alpha, a B is a beta and so on..), mobs and the economic crisis, the riot police and transport strikes that became almost signatory of all our important show dates and the food that the country offers (if only you have a Hara to tell you what not to eat). OrMaybeNot zeroed in on two possible spaces to create work. We were sure within two days of incessant brainstorming that we wanted to create a site specific piece of work at at least one location and perhaps translate inferences from this piece and it’s narrative structure into a bound script for a play to be performed at the other. There’s much you learn about theatre when you have six directors (who also happened to be the performers and designers for the first piece) – theatre happens. Irrespective. There are always roadblocks and the way around them is to consistently work out newer ways to challenge oneself through devising, reworking, slapping things on, stripping things bare. There is no process that can find it’s way into a rulebook. Noone’s ever right. Noone usually ever knows what’s going on. But in that chaos of constant tension between the elements that make theatre happen, is born the significance of working towards communicating the core idea, the one reason that holds us all together. And yes, then – theatre happens.

As it always does.

I remember reading something Ionesco once said “ One can dare anything in the theatre and it is the place where one dares the least”. We set ourselves the task to push ourselves into a space we’d never gone before and something rather spectacular emerged from an incomprehensive process that I still try and find my head around. The first space chosen for the site specific performance was TAF – The art Foundation in Athens, a derelict structure (much like the chawls of Mumbai – community housing on four sides with a central open courtyard) that was taken over by a private investor. He refurbished two arms of the housing area and turned it into large gallery spaces. The other two, he left, as is. With a few reinforcements to make sure the weaning structure didn’t collapse. The two crumbling arms of the structure act as smaller spaces for individual artists to showcase work while the swanky half houses larger exhibitions. The courtyard, much like the Prithvi Café is packed with people all day and turns into one of craziest bars in town as the evening falls. Taking a call on when we wanted to perform was pretty easy. Little did we know as we started, that we talked ourselves into a 20 day long durational performance that was set in the two old arms of the structure. We had six rooms in the main block (three at the top and three at the bottom) that became our performance space and suddenly everything I’d learnt about making work for the stage dissolved into nothingness like the three mandatory sugarcubes in Greek coffee. Ten days of writing out six characters, their interrelationships, simultaneously building a set that consisted of six detailed rooms complete with furniture and props sourced in broken Greek from Bangladeshi traders at flea markets, Lightbox as a production was ready to face a Greek audience. The concept remained simple. Each one of us played one of the six characters who we’d painstakingly crafted out of our bags of whims and fantasy. Each one of these characters had something to do with one another and the larger story. One character lived in two time periods – so two performers enacted the same character (which was revealed using visual hints and choreography). Each one of us understood the larger story and were rather aware over our staggered rehearsals that we needed this performance to last 20 whole days and we needed the audience to get a substantial chunk of the idea and the narrative everyday. There was no beginning, middle and an end. Like at Prithvi, the TAF café had it’s regulars. For those that saw us perform, we worked to serve them a performance that helped them understand the larger story and the worlds the characters inhabited. And for those that hung onto their Bombay Sapphire’s and tonics and hung around to watch us, irk us, interact with us, steal our set and get sick on it everyday, we created a piece that evolved and substantially gave us enough to play with and tell a longer story over our twenty days. We treated the ‘space frame’ at TAF as an installation that came to life as the performers walked into each one of their rooms at a designated hour everyday. And when we retired, we left enough clues for what had happened that day, how the story may have evolved and what one may expect on the day after. The audience could walk in and out of each one of these rooms while we were performing and when we were out drinking our Rakomelo (exotic Greek after-dinner liqueur). It challenged us every minute whilst we were in costume (I played a retired museum curator who was slipping into Alzheimer’s) to be aware of every action that could change the way the next few days evolved while it pushed the audience to think and draw connections than sit back in a seat in the dark waiting for entertainment to be served. It brought theatre, to theatre. I changed the way I thought as a performer who’s been grilled into a routine over rehearsals. Theatre became an ongoing process and not having the audience applaud when you pulled fake wrinkles off your face every evening became a stronger source of encouragement to keep them thinking that what they had witnessed, understood and interacted proactively with was not just an expression tending towards entertainment. It made them think, become observers of the world they walked into (despite the many that wanted nothing but their gin and tonics to rest on the balcony while we actors scurried about trying hard to stay in character)

Lightbox was devised everyday and every minute. While we put together the score for this piece, we took a rather essential call that I forget to mention earlier. None of us spoke. It was the one thing we ALL agreed upon as the basis of this piece of work. I’ve always been an eager Artaud reader. But to put his theoretical concerns to practice, this particular time, was perhaps almost essential, if not just appropriate. At the risk of writing rubbish that doesn’t match up to what he says, I’d rather quote from his collection of essays, Theatre and it’s Double:

“It has not been definitively proved that the language of words is the best possible language. And it seems that on the stage, which is above all a space to fill and a place where something happens, the language of words may have to give way before a language of signs whose objective aspect is the one that has the most immediate impact upon us.”

The performance piece at TAF allowed us to draw in the narrative as we drew to a close and write a “real” script to be performed in English, Greek and French (with a sprinkle of Chinese) at BIOS, a popular performance space in Athens, a month later. This play, that I co-wrote was titled A few ways to remember and ran eight shows in the month of June.

Dolly Thakore's 'Life in the Theatre'


UNUSUAL PERFORMANCE SPACES

In all my years in theatre, the most unique experience till three weeks ago was having performed Harold Pinter’s ‘THE BIRTHDAY PARTY’ directed by Alyque Padamsee in the large drawing room of Kulsum Terrace the Padamsee ancestral home in Walton Road.in 1972.. the eight doors leading in and out for entrances and exits lent themselves sinisterly to the setting of the play…and the 75-seating in two rows of chairs placed along the walls brought in the psychological claustrophobic closed in atmosphere none could escape from.

Those were days of a disused lift. And every member of the audience trudged up four flights of stairs to 25 houseful shows….only concession being Kulsumbai allowed us to place a chair on the second floor to rest and catch your breath for the less physically fit.

In those days theatre was an intimate activity patronized mostly by friends and family. One recognized every member of the audience. And if there was a strange face, there was much askance.

Now, it is not usual to have plays running for years and celebrating over a hundred shows…in some cases breaking records of a 100 shows within one calendar year.

Eve Ensler’s ‘VAGINA MONOLOGUES’ produced by Poor Box Productions is now in its ninth year and completed over 260 shows in hotels, gardens, malls, multiplexes, theatres in Goa, Pune, Bhubhaneshwar, Hyderabad, Kolkatta, Delhi, and even Sri Lanka…sadly Chennai, Jaipur, and Lucknow have shunned us.

And now the same cast doubles up for the Hindi and English presentation with consummate ease.

Since July 2010, we have become a monthly feature at the Comedy Store at the Palladium in Phoenix Mills. Audiences queue up laden with shopping bags and a glass of wine, and respond enthusiastically sometimes prolonging the play from the 75 minutes duration to an 85-miniute one!!!!

But the most unusual experience was performing The Vagina Monologues in the boat M V AVIOR anchored on the high seas opposite the Taj for some 80 doctors from fifteen countries -- including Norway, Japan, Korea, China, Turkey, Germany -- who had come to Mumbai to attend the Convention of the Academy of Neurosurgeons of Europe and Asia.

Our host, Dr. Keki Turel of Bombay Hospital -- who was the President of the Convention -- said many reported that India was even bolder than Germany!!! This was a conference with a difference where neurology included humanities and the arts.

Our excitement began when we were told to come in full make up as there would be no facilities on the boat…what a misconception that was!!! Because the AVIOR was a three double-bedroom boat with large dining and lounge on three floors and a terrace deck where we performed. Being a regular at the Taj washroom, I quickly transformed from plain jane to painted performer and waited on Slip 5 to board the six-seater yacht that would take us to the AVIOR. Many nervous squeals and apprehensions later -- about costumes-getting-sprayed-in-an-open motor boat, and salted hair and lips, we enjoyed the 20-minute skip over turbulent waves to clamber up the MV AVIOR almost chorusing Land Ahoy being on what we thought would be larger firmer ground.

Being on the boat and taking our positions on the raised platform for lights and sound test, we suddenly realized that the strong wind tossed us around even more, and the almost gale for us would carry away our script cards which are a part of the monologues tradition. The mikes amplified the sound of wind, and we had to compete with that while giving our sound tests.

But miraculously the tide changed and when we started the play at 8.30, the sea calmed as if straining to catch every monologue. Minutes earlier we were all clutching at our shawls and sweaters. It was late January when temperatures had dipped even in Mumbai. But come show time even the temperature mellowed. And we played to rapt attention lulled into calm by the gentle swaying of the boat.

And as if on queue, a holiday-revellers dhow blaring appropriate Hindi film music at 9.30 pm circled our ‘stage’ and disappeared into the night. The actors were a little disconcerted by this unexpected intrusion – but not the international audience who were straining to catch the strange accents albeit in English, and were unphased by the images conjured up for us by Munni Badnaam Hui as Rasika Duggal produced those moans in her monologue ...Who liked to make other women happy”.

And happiness and applause was expressed in international customary appreciation when we took our bows!!!

Kashin Baba's Babblings

Why I Do 'Theatre'

I've been part of the theatre scene for 9 years running now. Its all I do. However a lot of people still do not fully understand what I do for a living, namely , 80% of the people in my building and 92% of my relatives (statistics are my strong point, even though I flunked maths). They don't ever watch plays and I’m sure as hell that when I’ve told them what I do in life they must be thinking:- “oh, theatre ?? as in ‘Fame Adlabs’ theatre ???

So one night, at the start of this year, I wondered why I do theatre. When so many people are clueless about what I do, or imagine me serving popcorn or cleaning urinals at multiplexes, why am I still here??? I thought really hard, and fleshed out these five reasons :-

One:- 2002, while still in the middle of my acting course, I perform for an Inter-Collegiate drama competition. The play was, ‘The Man Who Wouldn’t Go To Heaven’, and completely against my wishes I was playing an angel sitting at the gates of heaven. White robe, plastic wings, metallic halo, the works (No, nobody took photographs, ha-ha !! ) At the awards ceremony, came a shock to the entire team, I win Third Best Actor. No one, not even me, understood how and why, it was the first time in my life where ‘someone’ thought I was good at something. Undoubtedly the first happy memory I have with regards to theatre, immediately followed by multiple hugs and kisses from my Mum and a celebratory dinner at Modern Lunch Home (Parel).

Two:- 2003, my play for Thespo ‘The Trial’, a week before our Thespo show we held a performance at my college auditorium, I am performing with a broken leg, walking stick in hand and lack of confidence in heart. Show happens, curtain call time, our Director calls out names of each individual actor…. When my name is called out and just as I’m about to bow to the crowd, thunderous applause, girls whistling, people screaming out my last name….. To make it clear, I’d spent an entire year in the Literature Department being meek and keeping to myself, the teachers bullied me, the syllabus raped me, my classmates ….. oh wait, they were nice to me. But no one really saw me as courageous enough to be an actor on stage, but there I was, hopping around (literally, broken foot remember?) playing multiple parts and just having fun. Everyone, even my Mum wondered where this confidence was coming from. And then, the one Lady Professor who was nice and genuinely fond of me walked upto my Mum and told her, “your son has found his calling, please make sure you support him wholeheartedly in this. I have never seen him so confident before. The stage seems to bring out the best in him”. Thank you ma’am.

Three:- 2006, the first baby of Le Chayim, ‘Confessions’ travels to Bangalore for our opening show at Thespo. At the awards ceremony we win 2 acting awards and ofcourse ‘Best Play’. Oh god !!! the shock, the amazement, the screaming ! Amidst the group hugs and tears someone yells “how did this happen” ??? (still don’t know who said that) really, how did that happen? We never set out to actually win anything, we were just trying to put up a good show, I mean look at who we were; an engineering student struggling with his exams, a Thane resident struggling through the crowd at Kunjvihar vada pav stall, a storyboard artist struggling to get a room with the light girl, a light girl struggling to break all the rules pinned up in our room at the Aurobindo Ashram, a former Restaurant manager struggling to make the light girl behave, and me….. struggling with life in general. But we won ! And we’ll always be proud of that moment.

Four:- 2009, my bestest friend in the world comes to see me perform in ‘A Special Bond -2’, where I’m playing Suraj, a 9yr old sardar kid living in the hills who is constantly hungry, fails in his exams, and is a full-on coward. In her feedback to me, my bestest friend and her husband tell me that I am a pleasure to watch on stage, and even though there is hardly any acting involved when I’m playing a kid, its great to see me so confident and having fun. I am reminded of what my Lit Professor told my Mum six years earlier, and it makes me smile. It feels good to know that I’m still good at it, and perhaps even getting better at it. The passion hasn’t died, thankfully.

Five:- 6th July 2010, Thespo at Prithvi, ‘Confessions’ 9pm show. The show has just gotten over, a semi decent house, the actors are backstage breathing heavily looking at me and wondering how the show went. Then, into backstage walks an elderly gentleman, he is gleaming and looks a little stunned. He walks right up to us, congratulates us, shakes our hands tightly, calls his wife and two daughters backstage and introduces them to us and proceeds to tell us, “why do we spend 300-400 rupees on rubbish bollywood movies when we have people like you? Giving us so much more for only 80/- ?? “ And with a final handshake and a broad smile, him and his family say goodbye and leave. My team and I are still standing there, looking at each other, smiling nervously, perhaps too afraid to accept the compliment, because its too good to be true.

Well, that’s it. I guess, as long as I know that what I'm doing is leaving an impact on 'someone' and as long as I'm aware that I 'am' good at something, why 'shouldn't' I do what I do eh?? I guess I'll just have to leave my building people with the hope that one day, when they go to see Prakash Jha's latest 'gem', I'll be the one ushering them to their seats.

Audience Participation - Mehernosh Bharucha critiques 'The Sound of Music'

THE SOUND OF MUSIC


Delna Mody made her debut on the English stage as Eliza Doolittle in Hosi Vasunia's sumptuously mounted ‘My Fair Lady, memories of which endure to this day. What a cast (Keith Stevenson, Farid Currim, Aloo Hirjee and the show-stopper Mr Noel Godin) ! It had grand and evocative sets, exquisite costumes and Shiamak's dazzling choreography. & what an Eliza Delna made ! She is now playing another iconic character on stage, Maria, in Ace Productions ‘The Sound of Music’. & What a disappointment this production is!

Firstly, since the action of the musical plays out in the Abbey, Colonel Von Trapp's garden-estate and Maria's bedroom in it, the production ought to have been mounted in an auditorium with wings and a stage-roof, a la the Jamshed Bhabha Auditorium or St Andrew's Auditorium. (From press reports, doesn't look like the musical will move from its home at the Tata.) The revolving set design at the TATA Theatre impedes the smooth flow of one sequence in the play to the next and the stage area constricts the choreography, especially when the stage is peopled by multitudes of children in 2 sequences.

Question for the set designer and play director : what WERE the mountain cutouts on either flank of the stage meant for ? I half expected them to be glided into stage centre for the show's opening number but that didn't happen. Nor did Maria cast a look-see at them as she took the stage in that sequence. And no ! these cutouts were not spot-lit even in the finale, as the Von Trapp family was shown escaping out of Austria. The Austrian mountainscape could otherwise have been screen-projected on the auditorium walls alongside Blocks A & E..

Many scenes were staged blandly, and the choreography was pedestrian. Vigor and pep and magic were wrung right out of sequences like "Problem Called Maria" and "Do Re Mi", the most enchanting song of the musical. The choreography in "16 Going on 17" was embarrassingly childish.

Question for Delna Mody and the play director : Did ANYONE think to get Maria to unpack her guitar from its case at least ONCE during all the times she hauled it onto the stage ?

The supporting cast of Darius Shroff and Lucky Morani were disastrous. Farid Currim would have been an ideal to take the place of the former as Max Detweiler. And while Marianne D'Cruz Aiman was good as the Mother Abbess, the strong-voiced Vivienne Poncha should have been roped in to play this figure of authority.

Dalip Tahil was rather stiff as Col Von Trapp and while I expected Delna to soar as Maria, sadly, for the most part, she didn't. She seemed inhibited in her protrayal of Maria. Give me her Eliza Doolittle and more recently her Katya Kewalramani anyday.

For me, the high points of the musical were : (a) the soul-stirring rendition of "Edelweiss" by Dalip Tahil, (b) the wedding in the abbey, and (c) the tender "Something Good" , between the Colonel and Maria ( tho the liplock was unconvincing).

The story and songs of ‘The Sound of Music’ are loved worldwide, but I didn't feel that much love for this version put up by ACE PRODUCTIONS.