Category Archives: Plays

Play review: Dhappa (Hindi)

Writer, director, lyricist and producer Akshay Mishra’s Dhappa is a Hindi musical play based in the 1950s era of Hindi cinema. This description will make you expect the drama to play out in a certain way. However, it has a major surprise later on; something you don’t expect from a play of this genre.

Produced by Aum Theatre Mumbai, Dhappa takes place in 1950s Mumbai (then Bombay). Kumar (Pavitra Sarkar) is passionate about acting but he is unable to make it big in the industry. Worse, his crass and rude behavior has made him infamous in the media, especially the tabloids.

Kumar stays with his elder sister Iravati (Sharon Chandra) in a bungalow. She is a gifted Kathak dancer but has been unable to fulfill her wish of becoming a professional artiste. She is much more mature than Kumar and is his guiding force as well as critic.

Meanwhile, the successful foreign-returned novelist Shyam (Puneet Issar) is eager to make his first feature film. Despite being obsessed with the idea of his first film, he doesn’t like watching new Hindi films. He is introduced to Kumar in an unusual way.

Shyam’s idea to make a film gains Kumar’s interest as he feels he will cast him in the lead role. However, Kumar is actually interested in making a film based on Kathak with Iravati. But this doesn’t go well with Kumar. He plainly declines the offer on behalf of Iravati without even asking her. Is it due to jealously, patriarchy or something else?

Dhappa takes you back to the golden right at the onset with Pankhuri Gangwal’s introduction as an anchor.

The story is laced with a lot of drama and conflict and that is played out well on the stage on a majority of the times. Akshay Mishra’s fine presentation of various situations as a director is noteworthy. The elaborated scenes between Kumar and Shyam are a mixture of drama and humour. Kumar’s conversations with Iravati are more serious and deep.

Dhappa boasts of some rich set designing with minute detailing that brings back the bygone era. The use of lights is creative while the background score adapts to different emotions effortlessly. Ajit Kumar Srivastava, Amit Ranjan Srivastava and Radha Srivastava’s musical performances elevate the play.

Pavitra Sarkar succeeds in adding life to the character of Kumar. Along with arrogance, he also displays an undercurrent of vulnerability, which the people outside are unaware of. Sharon Chandra scores well both in her Kathak performances and while playing Iravati. Anuradha Athlekar provides decent support in a role that has more potential later.

The veteran Puneet Issar lives up to his name and gives a mature act, including a long monologue. His character’s comparison with Duryodhan in one scene is amusing and smart.

On the flipside, Dhappa needed to be lesser in duration, especially in the second half where the length is felt. The duration of the song performances could have been reduced in order to make it crisper.

This point, however, won’t hurt you much when the aforementioned twist takes place. The way in which it is presented has the potential of giving you a shock, even if you manage to predict it.

Writer, director, lyricist and producer: Akshay Mishra

Cast: Puneet Issar, Sharon Chandra, Pavitra Sarkar and Anuradha Athlekar

Singers and musicians: Ajit Kumar Srivastava, Amit Ranjan Srivastava and Radha Srivastava

Background score: Amit Sagar

Lights: Shyam Chavan

Also read: Play Review: Subodh Bhave-starrer Ashrunchi Zali Phule

Puneet Issar to play a film director in the period musical play Dhappa

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The last time veteran actor Puneet Issar was seen on stage was in his mythological play Mahabharata: The Epic Tale where he played the iconic character of Duryodhan for which he is known.

He will now be seen in a completely different production titled Dhappa in the role of a foreign-returned filmmaker named Shyam.

Written and directed by Akshay Mishra, the play is produced by him and Sharon Chandra for Aum Theatre Mumbai. Chandra is also one of the actors in the play and she will also be performing an eight-minute kathak dance. She is a trained Kathak dancer from Jaipur Gharana. She is originally from Fiji Islands and has worked in numerous plays.

The play also stars Pavitra Sarkar and Anuradha Athlekar.

Dhappa is based in the film industry of Bombay in the 1950s. Kumar is a struggling actor who could never make it big. He is also infamous in the media for his rude and crass behavior. Even though acting was never his choice, he still tried to keep the flame alive only for his sister Iravati, whose ambition of dance could never be a reality.

Along comes Shyam, a foreign-returned director who is going to film his dream project. Shyam soon becomes a friend and confidant to Kumar. Kumar is overjoyed thinking that maybe he will get a chance to prove his mettle as a successful actor. But Shyam has other plans in mind.

Speaking about the play and his casting, Issar said in a statement, “It is an utmost delight working with Akshay Mishra and Aum Theatre Mumbai. My role in Dhappa is something that I have never explored but have always yearned for. I remember asking Akshay why he thought of me for the role as I have always played opposite characters. I always wanted to play a soft-spoken character but never got the opportunity. This young team is very close to me and they are my people. I am excited for everyone to see Dhappa and believe me this magnificent play is here to stay!”

As part of this performance, Issar will also be seen giving a monologue titled Patthar Ke Pankh, which was written decades ago by his father Mr Suresh Issar, a noted director and producer.

On how the play came into being, Mishra said, “These two years, I resorted to re-watching some old movies and I was still mesmerized. Movies from the 1950s and 60s are never a one-time watch. The dances, music, costumes, and sets were so endearing. One always looks up to these veterans who have worked tirelessly and given us such invaluable gems. We are forever indebted to their work which gives us a glimpse of a beautiful era gone by. I wanted to recreate some of that time through a play. And Dhappa was born!”

He added, “But it was not an easy feat. I researched a lot on the types of thumris that were played during that era and endeavored to write thumris that resonated with my audience. I was inspired by the thumris sung by Shamshad Begum, Begum Akhtar, Siddheshwari Devi, and many more and tried to recreate a little sprinkle of that golden era that these maestros ruled in. I can’t wait for the audience to hear these beautiful pieces of music.”

Mishra has also written the lyrics for the play, including the thumris. He is famous for his experimental play Nangi Aawazein, based on a short story by Saadat Hasan Manto.

The play will feature live singing from singers, Radha Srivastava, Amit Ranjan Srivastava and Ajit Kumar Srivastava.

Dhappa will be premiered on 18 June at Bandra’s St. Andrews Auditorium at 7 pm.

Play review: Tum Aaye To

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The impact of COVID-19 pandemic has been so high that it has, naturally, inspired artistes in almost every field around the world. Kirdaar Art Academy’s Hindustani play Tum Aaye To is based on various every day humans affected by the lockdown in some way or the other.

The play is an anthology of five stories with the backdrop of the COVID-19 lockdown.

1) The first one is a poetry performance that falls more in the street play genre. It features a group of youngsters reciting a poem ‘Tum Aaye To’. There is no doubt that the pandemic has taken a toll on many of us. But at the same time, the lockdown brought back some old days of togetherness. This is the highlight of his performance. And while doing so, it doesn’t veer onto the insensitive path at all.

2) This is followed by the tragic story of a daily-wage laborer and his wife. They are forced to return to their native place on foot, like thousands of others, because of the halting of all work in the lockdown. The play succeeds in making us feel for the two individuals and for that the performance of both the actors is a major contribution. You are taken back in time in 2020 when we saw their plight on news channels.

Tum Aaye To play — A still from Tum Aaye Toh

3) The doctors and medical staff in the entire country carried out a thankless job during the pandemic by putting their lives at stake to save many others. The third play focuses on their story and brings to light their plight of working tirelessly amidst such scary times. After making us go through various emotions, the play ends on a positive note.

4) A major aspect of the pandemic was online classes for kids after their schools were closed. The fourth one is a light-hearted portrayal of teachers adapting to this change in teaching style and its consequences. Along with providing humor, this one also gives a moving message in the end.

5) There is no doubt that everyone struggled in the pandemic, including the well to do. Many of them have been content with being safe personally and getting their demands met. This play is a reminder to them that there are many out there who are way less fortunate and they need their help. This one also puts across its point in a positive manner.

A total of 16 actors were a part of the play and they played 46 characters. It was a mammoth task but they were up for it. Iqbal Niyazi’s direction needs to be lauded for handling stories of different genres with ease and taking out good performances from these many actors.

It also needs to be noted that the actors are strugglers trying to make their mark in the films and TV. For some of them, it was their first outing on stage. As claimed by Niyazi after the show, it took him 90 days to prepare for this performance of 90 minutes.

The script is to-the-point and at the same time full of emotional moments. The use of music and songs also enhance the overall effect.

The makers have made smart use of limited number of props. The lighting also falls on the positive side. The only questionable aspect was the portrayal of the media in the second story.

All in all, Tum Aaye To succeeds in moving you.

Writers: Dr Naaz Khan, Mumtaz Niyazi, Iqbal Niyazi and Javed Sarwar

Design and Direction: Iqbal Niyazi

Also read: Kusur play review – Amol Palekar’s return is an interesting emotional thriller

Also read: Play Review: Subodh Bhave-starrer Ashrunchi Zali Phule

Andha Yug to be discussed, screened at META online event on 2nd, 3rd April

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The Mahindra Excellence in Theatre Awards (META) has organized a conversation around the classic Hindi play Andha Yug on Friday 2 April at 7 pm IST on their official Facebook page and YouTube channel.

The topic of the conversation is Andha Yug: The Theatrics of Visual and Improv. Joy Maisnam, Sajida and Mohd. Shahnawa will be talking to Ajit Rai, the moderator.

The following day (Saturday 3 April) there will be an online performance of Andha Yug on 7 pm IST again on their official Facebook page and YouTube channel. The play will be performed by artistes from across India.

A verse play, Andha Yug is set against the backdrop of the last day of the Mahabharata war until the final moments of Lord Krishna’s life. The moral centre of the play lies in Krishna and his presence which reveals to us that the ethical and the just are always available to human beings, even at the worst of times.

To visit META’s Facebook page, click HERE

To visit META’s YouTube channel, click HERE

Kusur (Play) Review – Amol Palekar’s return is an interesting emotional thriller

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Kusur: The Mistake is a Hindi play that sees veteran artiste Amol Palekar’s return to the stage after 25 long years. The play is adapted from the Danish movie The Guilty (2018, original title ‘Den Skyldige’) directed by Gustav Moller and starring Jakob Cedegren in the lead role. It’s adapted by writer Sandhya Gokhale, who is Palekar’s wife, and directed by the latter.

Kusur revolves around retired Assistant Commissioner of Police Ashok Dandavate (Palekar) who is now volunteering for the emergency services in Mumbai wherein distressed citizens dial 100 to receive help. He is accused of killing a young man while he was the ACP and the hearing is on the next day.

The set designer has smartly created the emergency call room. There are no extravagant props used but only the necessary ones, which adds realism. But the use of blue lighting borders is questionable.

As calls keep coming in for help from different citizens, you get easily involved in the proceedings. I don’t know how people handling these calls carry out their task in real. But the working style displayed by Palekar appeared convincing. Even otherwise, the actor has given an impressive act while showcasing different emotions.

Kusur is more of an emotional thriller. The makers haven’t changed the plot from The Guilty. It wasn’t required since the content is not only interesting but also one which can be placed in Mumbai as well in today’s times.

The story takes a turn when a woman calls up 100 and starts speaking with Dandavate as if she is speaking to a child. Dandavate quickly realizes that she needs help but is unable to say openly as she is with a man who is sounding angry.

The ex-ACP instantly realizes that the woman is in danger and starts making valiant attempts to rescue her from the trap. Dandavate is unaware that this is just a starting point of an unusual maze he has got involved in.

Along with him, the audience also goes through various turns and are eventually brought to a point that is both shocking and emotional. The final twist speaks a lot without speaking much and forces you to ask questions related not only to this story but also about the society. The writer has succeeded in fooling the audience, which was so very necessary here.

Also read: Play Review: Ashrunchi Zali Phule

But Kusur also has few questionable aspects. The murder case against Dandavate appears half-baked. Having not seen The Guilty, I don’t know this sub-plot was handled in the movie. But it is not explored much here. There was an opportunity to explore it more since the length of the play is too less at around an hour and 15 minutes or so.

There is also this character Pandey, Dandavate’s close friend, whose past incident about his grandmother doesn’t quite fit in.

Overall, Kusur is an interesting emotional thriller with an added bonus of Amol Palekar’s return to stage.

By: Keyur Seta

Additional reading:

Play Review: Chakravyuh – Nitish Bhardwaj’s return as Krishna

Play Review: Ke Dil Abhi Bhara Nahin

Play Review: Ashrunchi Zali Phule

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Ashrunchi Zali Phule is an iconic Marathi play written by the late Vasant Kanetkar in 1966. It was performed for the first time by Chittaranjan Kolhatkar, Prabhakar Panshikar and, Marathi theatre’s first superstar, Kashinath Ghanekar.

The play has been staged by various teams of actors over the decades. Currently, it is been performed by Shailesh Datar, Seema Deshmukh, Umesh Jagtap and Subodh Bhave, who plays the character of Lalya originally essayed by Ghanekar. Bhave had performed Lalya in few scenes in Ghanekar’s biopic Ani… Dr Kashinath Ghanekar last year.

Produced by Colours Marathi, Anamika Kanha’s Magic and Saisakshi, the play is directed by Pratima Kulkarni.

Ashrunchi Zali Phule is the story of an honest and upright college principal Vidyanand [Datar]. He comes across Lalya [Bhave], a ruffian student from his college. After initial conflict, Vidyanand manages to reform Lalya. The young man then goes on a journey to fulfil his dream of becoming a police officer.

Meanwhile, Vidyanand’s relation with his wicked college trustee Dharmappa worsens. He gets framed in a financial crime he didn’t commit and is forced to undergo jail sentence. After he returns from prison, he decides to take revenge from Dharmappa but in the process becomes a gangster himself.

I have neither seen any of the previous versions of the play nor read the original. This review only focuses on this particular performance.

For the uninitiated, Ashrunchi Zali Phule initially might appear like a story of how a spoilt youngster gets reformed. But the story goes much further and gets on an interesting mode on what happens after the tables are turned for Vidyanand and Lalya. The high octane confrontational scene between both of them in the end is the high point of the play.

The makers have fairly succeeded in recreating the bygone era. The play boasts of some convincing set designing. To use some simple lighting to give the feeling of an airport in one scene was remarkable.

Ashrunchi Zali Phule has its share of minuses as well. The transformation of Vidyanand isn’t well established. It happens all of a sudden, which makes it difficult to believe. There are two of three sequences featuring Vidyanand which are dragged on even after their purpose is fulfilled. [Maybe this was fine for the era in which it was initially staged]

A major plus point here is, obviously, Subodh Bhave’s act as Lalya. Initially, it is difficult to accept him as a college student but his performance makes up for it to a good extent. His transformation as a cop and his act in the last scene makes you somewhat forget the aforementioned minuses.

Shailesh Datar also goes about his transformation successfully. The play is also well supported by Umesh Jagtap, Seema Deshmukh and others.

Overall, it is a treat to experience the applause and whistles for people of today’s era. It gives some idea of the olden days of Marathi theatre.

Rating: 3.5 out of 5

By: Keyur Seta

Piano For Sale (Marathi Play) Review

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Director Aashish Kulkarni’s Marathi play Piano For Sale features veteran actresses Kishori Shahane Vij and Varsha Usgaonkar. They were two big names and contemporaries in Marathi cinema of the 1990s.

This is the first occasion where Shahane and Usgaonkar have shared the stage together. As the play has no other characters apart from them, there is no need to say that one would get to see their jugalbandi on stage.

But for a play or any piece of performing art for that matter it is the end product that needs to be impressive. The cast comes later. Let’s find out if Piano For Sale manages that.

The play is the Marathi adaptation of playwright Meher Pestonji’s English play of the same name. Sheila (Shahane) stays alone in the middle-class Byculla area of Mumbai. She is a dance teacher for mute and deaf students. She is quite content with her simple lifestyle, although she does experience feelings of loneliness here and there.

Anita (Usgaonkar) is the opposite of Sheila. She is married and has a daughter. They belong to the upper class and she is proud of her status.

Sheila wants to sell off her old piano, for which she gives an advertisement. Anita gets interested in buying it and calls Sheila. While hanging up the call, Anita reveals her full name. This stuns Sheila since she and Anita have had a past and not a pleasant one at that.

Going by its interesting storyline, it is not surprising to see the reason for adapting the play from another language. Just when you think that the story will continue based on the conflict that was established early on, it takes you by surprise through a twist in the second act (post interval).

The end result turns out to be moving as it compels you to think on the idea of winners and losers in matters of love and life.

Needless to say, when the entire play is only about conversation between two characters, the script needs to be engaging and this is what happens for the majority of the duration. The dialogues and the subtle dark humour are enough to keep you engaged.

It is only on few occasions that the transition from one topic to another isn’t entirely smooth though. Also, the massive transformation of one character later on is a bit questionable.

A lot of thought has gone into the rich set designing. The interiors of both the houses – of Sheila and Anita – are realistic. Coming to the lights, it was a smart idea to dim the brightness whenever the conversation became intense and conflicting. The sounds of piano go well with the subject and the title.

Needless to say, the play demanded both Shahane and Usgaonkar to be on top of their games. The two actresses have complemented each other well and, in doing so, have provided convincing performances.

Overall: Piano For Sale is an interesting and thought-provoking play.

Rating: 3.5 out of 5

Review by: Keyur Seta

Director and English adaptation: Aashish Kulkarni

Original playwright: Meher Pestonji

Producers: Digital Detoxx

Cast: Kishori Shahane Vij and Varsha Usgaonkar

Play Review: Zenobia Mansion

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Zenobia Mansion is a mono act which is a part of the two mono act segments under the title Atke Bhatke Latke Sur (the other being Noor Mahal).

Zenobia Mansion stars Preeta Mathur, who plays a classical singer Susupta Gupta. She stays in an apartment in Zenobia Mansion in the Pali Hill locality of Bandra, Mumbai. She was born and brought up in Delhi and has recently shifted to Mumbai. Although she has now reached a stage where she is well-versed with the art, her life in Zenobia Mansion is anything but pleasant.

Just above her apartment stays a well-known Bollywood choreographer. His heavy frame coupled with ghungroo creates terrible noise when he practices; sometimes even late night. This doesn’t allow Susupta to practice for her concert that could define her future. Sadly, he is not the only disturbance in the building. How will Susupta counter such distractions to prepare for her concert?

The first and foremost challenge in every mono act is to keep the audience gripped. This isn’t easy whatsoever as the writing needs to be engaging and entertaining. This challenge is taken care of for a majority of the duration in Zenobia Mansion. Constantly something or the other keeps taking place.

Although this is a mono act, there are more than a handful of characters in the story. They, obviously, don’t come on stage but their presence is felt throughout the duration. Therefore, this is a kind of a mono act that is not limited to the genre. It’s just that a bigger punch in the end could have increased the overall impact to some extent.

But quality writing isn’t enough by the way in such genre of plays. It needs to be complemented by a good acting performance else the goodness of the writing would not get noticed. Preeta Mathur lives up to the task and gives a fine act. She smartly creates humour out of worry that her character experiences.

The set designing is not too elaborate, which is as per the need. The properties used are simple that suit the middle-class household of the character. The lights are effectively used to produce the desired effect, although there could have been more experiment on this front.

Sound plays a big role here and this aspect is up to the mark. Punita Chopra’s soulful vocals enhances the subject.

Overall: Zenobia Mansion is an enjoyable light-hearted monologue.

Review by: Keyur Seta

Writer and Director: Ashok Mishra

Presented by: Dinesh Thakur’s ANK

About the venue:

Kreating Charakters is the latest theatre space inaugurated in Mumbai. Zenobia Mansion was the first public performance here that took place few weeks back. It’s a nice little cosy place, which is ideal for mono acts and experimental plays. It’s seating is much on the lines of Prithvi.

Picture: Kreating Charakters official website.

Get a glimpse into Vijay Tendulkar’s work…. for free!

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May 19 marks the Death Anniversary of the great Marathi playwright and author, Vijay Tendulkar. Since last few years, a group of theatre lovers have been paying tribute to the celebrated artist on this day through a theatre festival that provides a glimpse into his work. The same will be the case this year too on May 19, which will mark his 8th Death Anniversary.

As the festival is named, ‘Te Diwas’ it tries to bring back memories or provide nostalgia of Tendulkar’s era of glory. As it is not possible to showcase his vast body of work in a single evening, the festival will showcase important scenes of his memorable plays like Sakharam Binder, Gidhade and others. But his one-act monologue, Olakh will be presented in its entirety. The participants include some well-known names from Marathi TV and film fraternity.

Here is the complete schedule of the festival:-

Sakharam Binder (3 scenes)
Cast: Ajay Mayekar (Dir. Kahe Diya pardes zee Marathi), Dipti Ketkar and Ashwini Kasar (Kamala Colors Marathi)

Katha Vachan
Cast: Nandita Dhuri (Mati Majhe Saubhagyavati and Elizabeth Ekadashi)
Director: Ashitosh Datar

Gidhade (monologue)
Cast: Shreya Budge (Chala Hava Yeu Dya)
Director: Aniket Sane

Pahije Jatiche (3 scenes)
Cast: Ajay Kamble and Omkar Raut
Director: Abhijit Khade (Executive Producer at Colors Marathi)

Olakh (one act play)
Cast: Sachin Deshpande (Honar Sun Mee Hya Gharchi)

Zala Anant Hanumant
Cast: Shilpa Sane and Ankit Mhatre

Date: May 19, 2016

Venue: Bhavans Chwopatty

Time: 7 pm

Entry FREE for all!

Natsamrat Dialogues

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Nana Patekar is gaining tremendous applause for his act in and as Natsamrat and rightly so. But we can’t deny the role of V V Shirvadka aka Kusumagraj (original play) Kiran Yadnyopavit and Abhijeet Deshpande’s richly creative dialogues in helping this Mahesh Manjrekar film reach such a high level.

Here is a list of some applaud-worthy dialogues from Natsamrat:

– To be or not to be, that is the question. Jagava ki marava, ha ekach sawaal aahe.

– Pratishtha mhanje ek bhaakad oza. Kadhi yogyata nastana milta. Kadhi chook nastana nighun jaata.

– Kuni ghar deta ka? Ghar? Eka toofanala kuni ghar deta ka? Ek toofan bhinti vaachun, chhapra vaachun, manasachya maye vachun, devacha daye vachun, dongra-dongrat hindta aahe. Jithun kuni uthavnar naahin ashi jaga dhoondta aahe. Kuni ghar deta ka re? Ghar?

Picture: Natsamrat Facebook page

– Tu nat mhanun bhikarda aahesach. Pan tu maanus mhanun suddha salya neech aahes.

– I kissed him. You are jealous.

– Whisky? Oh that is phuski…

– Vidhata, tu itka kathor ka zalas? Eka bajula jyanna aamhi jamna dila tya aahmala visartaat. Aani dusrya bajula jyani aahmala janma dila toh tu hi aahmala visarto. Mag viskatlelya hadanche he saapde gheune karuna kara, aahmi therdyani kunacha payavar doka aadhlaycha re?

– Naahin, raagavun kay faayda aahe? Aani radnaar suddha naahin. Mazya dolyat asva jama hovayla laagli tar khi… khi… khile maarun khacha karun taakin pan hya adhai samor mee radnaar naahi.

– Aahmala vaat ta aamhi aai zalo, baap zalo. Khara tar aamhi kunich zalelo nasto. Aamhi fakta jine asto jine.

– Sur mhanto saath de. Diva mhanto vaat de. Unhamadhlya mhataryala fakta tuza haath de.

– Door vha! Door vha, sagla nirarthak aahe. Jo aaplya jaagi thaam pane ubha aahe toh mee aahe. Julius Caesar. Mee aahe Prataprao. Mee Othello. Sudhakar aani Hamlet aani Ganpat Ramchandra Belvalkar, Natsamrat.