‘Theatre was never reflective of the Indian chaos’

DNA lures theatre biggies from their respective roles on and off the stage to discuss the future of Indian dramaturgy.

DNA: Even after being active for so many years, why has Indian theatre, unlike the West, had a limited following?
Lillete Dubey: I think there is a theatre culture in some of the states in India, where theatre has been followed for decades. But you can't compare this culture to any place in the West. Even for that fact, the theatre culture between Mumbai and Delhi cannot be compared. In the West, there has been 100 years of Shakespeare. It is in their blood. Theatre culture is part of their whole living experience. Unlike us, it is not part of any routine.

Darshan Jariwala: Even if we do have a theatre culture, its success depends a lot on factors like literary awareness. 

Lillete: When I first came to Mumbai from Delhi, I observed that in the city, Marathi theatre was thriving and had an impressive culture among theatre enthusiasts. Even if someone had Rs50 in his pocket, he would rather spend it well by paying for a play ticket.

Darshan: Wherever the theatre culture has been strong, that is because language and literature have successfully translated on to the stage. That can be observed in states like Bengal, Karnataka and Kerala. 

Darshan: Indian English theatre has taken off on a great note in Mumbai, and Hindi theatre is of course doing well in Delhi.

Jaimini Pathak: We talk mostly of urban theatre. What about all those rural forms of the art too — traveling theatre groups that are none the less important? It is very difficult to round up everything under one common umbrella.

DNA:  What have been the united efforts of the fraternity to establish an identity?
Darshan: It is funny that Gujarati theatre runs very robustly in Maharashtra, but the state government does nothing to encourage it. There are no state sops. Gujarati theatre in Gujarat was dead for a very long time. Now in places like Ahmedabad, Surat and Rajkot, people are shaking off their lethargy. Now in Ahmedabad, there is a Gujarati play happening everyday. But still people in Gujarat prefer to watch Mumbai plays rather than their local productions. 

Benjamin Gilani: We never had any theatre identity. We have been divided by so many languages.

Darshan: Precisely 23 languages.

Shiv Subramanium: We can't search for a monolithic identity.

Jaimini: But why should we?

Shiv: I think our theatre fraternity is pretty vibrant, if we don't take into account the commercial aspect. Whether it is viable or nor, I don't know.

Jaimini: But if we were not making any money, how do you think there are so many productions going on in the city?

Lillete: We need an active support mechanism from the Indian government. 

Akash Khurana: On our behalf, we try to spread awareness about when and where plays are happening via the internet, youth message boards, Facebook. We have been successful to an extent.

DNA: Are young people willing to chuck high-paying jobs to join theatre today? Lillete: I have two business management students with me right now. One of the guys said he was so kicked by the theatre that he was ready to take a drop in salary. While his friends were applying for banking jobs, and I am very keen to have him. This trend is very heartening. 

Akarsh: I agree that if theatre was not supporting itself, people wouldn't be doing it. It is not impossible to sustain yourself in this industry, but there are certain decisions to be taken that may always not be guided by your passion. There are certain compromises you make. 

Lillete: A lot of people today are doing other things but also doing theatre, like a parallel profession.

Akarsh: In the last two years, I have had to give up everything else because this is a full time job. I had a fairly working film career which has now taken a back seat. But that is how it works. There is a gestation period as in every profession. It also brings experience in terms of content, advertising and more. I have a girl who left her advertising job purely out of passion. 

Darshan: But that is very rare.

Benjamin: I think what we are talking is purely out of a performer's point of view. What about the technicians? Theatre puts bread and butter on the table for many people. 

Darshan: They need to be accounted for. 

DNA:  How important is state support for the theatre industry?
Shiv: It means like in Western states like London, states provide support. 

Lillete: Once, when I was at Edinburgh, there was a man talking to me about the kind of state support he got from his government. In the North of England, in this tiny little theatre that he ran, he said the government would give them five hundered thousand pounds! And this amount for only a 200-seater theatre. There is no way any theatre can survive if some kind of art council does not support us. 

DNA:  What are the most heartening factors you have observed on the theatre stage recently?
Darshan: It definitely is the Indian English theatre where there seems to be a revolution. 

Lillete: We need to experiment with alternate theatre spaces. We don’t look beyond Prithvi and NCPA. The theatre culture in the city exists along the shore line. There is nothing beyond the straight line that joins Juhu with Nariman Point.

Akarsh: We are hoping this trend picks up. Last weekend, we had shows at Sathye College (Vile Parle). We were trying to keep a tab on what kind of people came in and from which part of Mumbai they were coming from. The youth is coming in, in a big way, definitely thanks to the Internet. Even people from Dombivili were coming thanks to Sathye's proximity to the Highway.

Jaimini: But it is equally mystifying that Karnataka Sangha which is just off the Matunga Station is not doing that well.

Akarsh: But to cultivate these kinds of spaces, crowd pullers need to come. 

Darshan: Instead of hankering for slots in Prithvi, go to these alternate theatre spaces. 

Benjamin: At one point of time, Karnataka Sangha was very vibrant. It is just about reviving that culture.

DNA:  Like several other industries, is the theatre fraternity also reeling under recession?
Akarsh: I have a contradicting view point.

Darshan: Recession is the best time for entertainment industry to thrive. 

Lillete: But it is not the easiest time to get money from sponsors. 

Akarsh: But theatre has been reeling under recession since a long time. It is eternal in our industry.

Benjamin: The film fraternity says recession has affected them, but let this multiplex strike get over. Everything will get back to usual.

Darshan: Gujarati theatre only slows down during Pajyushan. That’s the only time when Gujaratis do not watch plays. We won’t last beyond a week of not watching plays.

DNA:  Theatre has always been considered the second cousin of Bollywood. Is it because the stage lacks glamour?
Darshan: It is actually the third cousin. 

Lillete: Theatre is not a mass medium, so you cannot compare it.

Darshan: Theatre will not stand in a society that is intolerant about looking at itself. Theatre is the mirror of what is going on around you, but if you are not tolerant, then it won't work for you. Theatre in any case was never reflective of the Indian chaos. 

DNA: What about Bollywood actors being a part of theatre productions?
Lillete: No, we do not need Bollywood actors. 

Jaimimi: The kind of people who come to watch that play are not interested in theatre. 

Darshan: It will not create an enduring audience. 
 
DNA:  What are your suggestions to improve the situation on the theatre stage today?
Lillete: As a producer, I need to make money. I can’t just hope that people will come. For that we need more aggressive marketing. We need to get more young people to come. We have to expand our base, they are much more demanding and willing to see experimental stuff. Media has become so Bollywood interested. Interests shift very quickly to cinema. 

Benjamin: Honestly, I can only see situations going downhill. I can’t see how to market the product better. 

Akarsh: Right now I am losing the battle, but I am hoping that situations will improve. Some opportunities need to be created. With young people coming in, it should only get better. Indian English theatre has come a lot way ahead. Couples are treating theatre as a night out now. That is a great change. If a theatre space becomes a community centre that is great. That way, Prithvi has managed to capture the audience. The ambience at NCPA is however a little foreboding. Also the theatre scene in Mumbai now is fraternal. There is no unhealthy competition. 

Jaimini: Theatre has been and still is contemporary. We need fresh scripts. Theatre needs to develop a younger audience If Facebook or SMSs do that, then so be it.

Shiv: New theatre spaces are very vital right now.

Darshan: We should make people anticipate that good plays are going to come.

Shiv: I have been very optimistic. Of late, a lot of good writers are emerging. We also have acquired producers who are willing to take risks but still put in money in new projects. 

Darshan: Every show is an experiment with an audience.