The show must go on

Sanjay Jog finds out that Marathi theatre is determined to reclaim its glory

At a time when television and cinema are doing their best to steal the show, Marathi theatre is determined not to let the curtain come down on it. The vibrant medium, which was once bubbling with ideas and did not shy from experimentation, might not be as popular as it was in the not-too-distant past. But it is not about to let the spotlight fade away. There was a time when Marathi theatre reflected the societal conflicts of the post-Independence era. The older Maharashtrians speak nostalgically about that golden era when they would, despite meagre incomes, shell out Rs 100 to watch a play.

Times have changed since. Playwrights and artists today are struggling to bring out new forms and presentations. Marathi plays now focus less often on socio-political issues. Humour is the mainstay, and plays revolve around Marathi identity, middle-class identity and the conflict between generations. Calling on Marathi pride, some producers manufacture a hit by playing on their audience’s fear of immigrants. One play, He Thamble Pahije (This Must Stop), produced by Rajesh Shirke, raised the issue of migrant workers and taxi permits. Plays such as Bhaiya Hatpay Pasri (I Plead), Aaytya Var Koyta (Stop the Opportunist)and Marathi Manse (The Marathi People) dealt with and praised Marathi-speaking people.

Not many playwrights or producers want to take on controversial topics. There is also worry over the role of the censor — for instance, political parties cannot be named. In 1989, Pradeep Dalvi was denied permission to stage Mee Nathuram Godse Boltoy (I Am Nathuram Godse Speaking). After a brief resurrection nine years later, the state government again banned the play. Recently, when the play was staged in Thane, an angry crowd took to the streets. But there is another side of the picture too. Some plays — although not many — have run for a thousand shows. Char Diwas Premache (Four Days of Love) by Sudhir Bhat’s Suyog, All the Best by the late Mohan Wagh and Sahi Re Sahi (All’s Well) by Lata Narwekar are among them.

Artist-turned-producer Sunil Barve believes that viewers love live entertainment. He has proof to back that belief. “Viewership has dipped due to several factors, including TV. That’s why I launched Herbarium [an initiative] to revive some old hit plays by inviting popular stars to perform,” he says. Suryachi Pilley (Children of the Sun), Lahan Pan Dega Deva (God Make Me Humble) and Hamidabaichi Kothi (Hamidbai’s Kothi) ran to full houses.

Recently, Maharashtra Deputy Chief Minister Ajit Pawar announced that he is willing to offer support with grants on the lines of those provided to Marathi films. Going by the experience in other states, like Uttar Pradesh, old-time playwrights feel this may bring temporary relief to the producers as mediocre theatre groups will mushroom for the money.

Leading Marathi playwrights, like Mahesh Elkunchwar, are optimistic that Marathi theatre will once again turn the tide. Undoubtedly, there is stiff competition from the electronic media and cinema. Auditoriums, too, have increased the rent while the revenue from sale of tickets has remained stagnant. In Mumbai, Prabodhankar Thackeray Hall (Borivali), and Dinanath Mangeshkar Hall (Vile Parle) are the only theatres running shows regularly. “Marathi theatre has gone through many ups and downs. However, it continues to be the best among all due to its consistency, quality and adaptability,” says director Chandrakant Kulkarni. It has bright future, he says. “Audience are coming back for live entertainment. Writers, producers, directors and artists are also turning back to theatre due to various innovations.”

Actor Ajay Wadhawkar, who has been associated with Marathi theatre for the last 40 years even since he was a child artist, says the main problem is that “we don’t have really powerful, socially-meaningful and commercially-successful scripts”. Theatre has to keep the young generation in mind, know their preferences and also keep track of the fast-changing social milieu, he says adding that “Marathi plays have to once again focus on social issues instead of comedy”.

Marathi theatre is a 160-year-old tradition which began with folk drama. A promising feature has been ‘experimental theatre’ which has constantly thrown up new ideas and new forms. Among those who have experimented liberally with the medium is Suyog theatre group’s founder Sudhir Bhat. Bhat, has staged 72 plays in the last 25 years, including the Marathi version of One Flew Over the Cuckoo’s Nest.

Theatre artist Neelkanti Patekar emphasises the need for a fusion between experimental and commercial plays. “Experimental theatre is the ground from where commercial theatre draws its sustenance,” Patekar says. Sandhya Chhaya (Twilight), Pahile Jaatiche (The Elite) and All the Best were experimental plays when initially staged but received tremendous response and were an instant hit on the commercial stage.

In the last 160 years, there have been periods when people started writing the obituary of Marathi theatre. But with playwrights willing to reinvent, evolve and at the same time stay in touch with the roots, the show is going on.