 "Grand encore")
The pigeons seem somewhat miffed as they poke around newly-fitted stage lights in the Royal Opera House on Charni Road. For years, during a prolonged period of restoration, they swooped effortlessly in and out of scaffolding and sheets covering the old structure.
Ever since work sped up in the last few months, and final repairs and touches of paint were added, the guttural chorus of the birds has not been welcome here. The beautified venue would rather return to sounds like operas and western classical music, which it was known for hosting 100 years ago.
"A few manage to get in somehow. We are trying to take them out," says a member of the restoration team about the pigeons, echoing a sentiment common in Mumbai.
Conservation architect Abha Narain Lambah wants the building to see "women in chiffon saris and men in black ties" and hear "the chinking of glasses" once again. Lambah has been on board the project since 2009, when the owners, the former royal family of Gondal, first thought of reviving the property. Waiting for approvals and permissions reportedly delayed the process.
It is the oldest and only opera house in the country, in addition to being a rare example of baroque style in a city dominated by gothic and art deco heritage. True to the Roman tradition of architecture, its design included friezes, grand pilasters, Italian balustrades, stained glass and frescoes.
But the state of disrepair had been severe enough for the World Monument Fund to put it on a watch list for at-risk buildings in 2011. No events had been held since a fashion show in 1993. The finishes and seating were damaged. Parts of the structure had reduced to a web of metal and stone. The oil paintings had paled.
Long before it turned into a nesting ground, it was a hotspot for cultural activity. Envisioned by Jehangir Framji Karaka and Maurice Bandmann, construction of the building began in 1909. Not much is known about the Parsi founder, says historian Deepak Rao, but he is believed to have run a coal brokers' firm. Bandmann, described by The Times of India in 1922 as an "Eastern Impresario", was an actor and theatre group owner who toured much of India and Asia.
By 1911, while it was still a rough structure dressed up in drapes, the first performance was held there after an inauguration by King George V. This moment led the opera house to get its regal title. Construction went on until 1915, and cost Rs 7.5 lakh, according to a report by historian Rafique Baghdadi.
Events began in earnest around 1916. The American magician Great Raymond was among the first to perform. Around 1925, French production house Pathe rented the theatre to show American and European silent films, and sell film equipment and raw stock, notes Madhusree Dutta, who researched the theatre for her book, Cinema City.
"In the mid-1930s, the opera house began to show Indian silent cinema. It had an exclusive contract with Ranjit Movietone, a Bombay studio that specialised in social drama and high-spectacle historicals," she says.
Hindi, Marathi and Gujarati plays continued in the matinee shows and on weekends. Madan Theatre and later Ideal Pictures controlled programming for a few years each.
As it passed through various hands and was repurposed, the structure changed in appearance and form - the side-boxes were knocked off. After World War II, as income dipped, Karaka sold the property to the Gondals in 1952.
For the Gondals, at the time, it had been a commercial investment. The screenings of films failed to turn in a profit after some years, and was eventually stopped. The opera house fell into disuse.
There was little by way of instruction for the conservation specialists to follow. The writings of historian Sharada Dwivedi were one resource. Later, an Australian professor of theatre contacted Lambah and sent over a 1916 brochure with photographs detailing the design of the foyer, the stage and dress circle lined with wooden seats. It helped reconstruct the side-boxes that had been razed.
In its heyday, the opera house had catered to the wealthy. The large entrance allowed carriages and cars to drive in easily. There were three levels of ascending seats, with separate refreshment rooms and bars on each floor. Cool air harnessed from slabs of ice was sent into the orchestra pit through a set of concealed vents. A fire pump and sprinkler system had been part of the safety arrangements.
Stained glass awnings emerged from underneath layers of black dust. Another find during repairs were the words "next programme" still etched in decorative font on a wall above the box office. Through stills from films of various vintages they found that by the 1970s, the walls of the opera house had been doused in garish green and popsicle pink. Kumud Kumari of the Gondal family, who watched over much of the restoration, was keen that the building be taken back to its original tasteful grandeur.
A fern green colour was chosen for the foyer and corridors, painted with marble stucco effect. This is quite reminiscent of the Bhau Daji Lad museum that was restored around 2007. The woodwork, original light fittings and two chandeliers had survived and needed only minor fixing.
Above the entrances to the auditorium are domes with portraits of writers and musicians including Shakespeare and Byron, which were retouched by students from the Sir JJ School of Art.
The revival has shed light on the venue's prolific history and launched waves of nostalgia, especially among personalities of theatre and the motion pictures. Many big names including Bal Gandharva, Manji Khan, Bapu Pendharkar and Jaddanbai have used the space. Mahatma Gandhi held a meeting there once. Lata Mangeshkar's debut performance was there.
Another sign of the opera house's influence was that it lent its name to the locality, now mainly a centre for gold and diamond trade.
It was not only a place that showed movies but also that was seen in movies. World Film Locations: Mumbai, edited by Helio San Miguel, notes its appearance in Aag. Fifty minutes into the 1948 film, Raj Kapoor's directorial debut, a scene opens with the camera resting on the frieze and then travelling to the words "Royal Opera House".
The structure is rich and imposing, a metaphor for what the big city looks like to a young and out-of-luck Kapoor who has just arrived there.
Another Kapoor had deep ties with the venue. Backstage, on a raised level were two small rooms, one of which served as on office for Prithviraj Kapoor. His first play, Shakuntala, opened there on March 9, 1944, after which all his works were performed there.
In an archival publication listing theatre groups in India, Prithviraj's grandson Kunal, who now runs Prithvi Theatres, came across a mention of Royal Opera House as their official address. He does not have vivid memories of going there as a child but often shot ad films inside in the late 1990s to early 2000s, when it was defunct.
"I used to walk around backstage, up on the catwalks, make-up rooms, balconies, boxes, and foyer, and marvel at the place and imagine what it once must have been like in its glory days," he says.
His cousin, Rishi Kapoor, tweeted about memories including "Dadaji's plays" and "chips, samosa, Mangola". He acted as a sleeping child in one of the plays, and later watched films at the venue.
Film director Milan Luthria recalls his mother taking him to watch films there and at the nearby Roxy Cinema, followed by a walk on the beach nearby. "The seats at the back were cheaper - they were simple backless benches."
Luthria, who studied various city cinemas while shooting a period film, says there is scope for venues like Capitol and Edward to be rejuvenated as well.
Attempts were made to bring back charming cinema places such as Edward and Liberty by hosting high-profile events there, but interest was not always sustained.
Madhusree Dutta was part of a team that screened German films in a bid to draw new crowds to Edward, the city's oldest theatre. "The technical facilities in the theatre are not up to date and so newer films cannot be screened there." Liberty runs the occasional film retrospective, while Edward still caters regularly to a poorer section of the audience.
Although the Royal Opera House hosted the opening night of the annual film festival of Mumbai Academy of Moving Images, films will not be a regular fixture here. The owners would like it to be a hub for the performing arts. "We require a place that is authentic for plays, orchestras and concertos," says Kumud Kumari.
Her team does not reveal the expense of repairs, only saying it cost "blood, sweat and tears."
Asad Lalljee, CEO of Avid Learning (Essar Group), who is in charge of events, says he is also keen on having talks and book launches there. He plans to invite cultural groups like the British Council and Alliance Française de Bombay for tours to show off the space's look, potential and sound quality.
UK-based opera singer Patricia Rozario and a multi-level western classical music group were among the other acts slated to perform in the first week.
"While there is no dearth of cinemas in Mumbai, there is a huge shortage of well designed and managed theatres for live performances," says Kunal Kapoor.
Some believe the venue will be an alternative to the National Centre for Performing Arts, while a few wonder if it will be able to attract younger or middle-income audiences.
Still, against a backdrop of neglected heritage, it is seen as an encouraging symbol. Historian Rao seems to concur with the publicity material for the opera house's unveiling when he observes, "It is a new jewel in Mumbai's crown."
Ever since work sped up in the last few months, and final repairs and touches of paint were added, the guttural chorus of the birds has not been welcome here. The beautified venue would rather return to sounds like operas and western classical music, which it was known for hosting 100 years ago.
"A few manage to get in somehow. We are trying to take them out," says a member of the restoration team about the pigeons, echoing a sentiment common in Mumbai.
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It is the oldest and only opera house in the country, in addition to being a rare example of baroque style in a city dominated by gothic and art deco heritage. True to the Roman tradition of architecture, its design included friezes, grand pilasters, Italian balustrades, stained glass and frescoes.
But the state of disrepair had been severe enough for the World Monument Fund to put it on a watch list for at-risk buildings in 2011. No events had been held since a fashion show in 1993. The finishes and seating were damaged. Parts of the structure had reduced to a web of metal and stone. The oil paintings had paled.
Long before it turned into a nesting ground, it was a hotspot for cultural activity. Envisioned by Jehangir Framji Karaka and Maurice Bandmann, construction of the building began in 1909. Not much is known about the Parsi founder, says historian Deepak Rao, but he is believed to have run a coal brokers' firm. Bandmann, described by The Times of India in 1922 as an "Eastern Impresario", was an actor and theatre group owner who toured much of India and Asia.
By 1911, while it was still a rough structure dressed up in drapes, the first performance was held there after an inauguration by King George V. This moment led the opera house to get its regal title. Construction went on until 1915, and cost Rs 7.5 lakh, according to a report by historian Rafique Baghdadi.
Events began in earnest around 1916. The American magician Great Raymond was among the first to perform. Around 1925, French production house Pathe rented the theatre to show American and European silent films, and sell film equipment and raw stock, notes Madhusree Dutta, who researched the theatre for her book, Cinema City.
"In the mid-1930s, the opera house began to show Indian silent cinema. It had an exclusive contract with Ranjit Movietone, a Bombay studio that specialised in social drama and high-spectacle historicals," she says.
Hindi, Marathi and Gujarati plays continued in the matinee shows and on weekends. Madan Theatre and later Ideal Pictures controlled programming for a few years each.
As it passed through various hands and was repurposed, the structure changed in appearance and form - the side-boxes were knocked off. After World War II, as income dipped, Karaka sold the property to the Gondals in 1952.
For the Gondals, at the time, it had been a commercial investment. The screenings of films failed to turn in a profit after some years, and was eventually stopped. The opera house fell into disuse.
There was little by way of instruction for the conservation specialists to follow. The writings of historian Sharada Dwivedi were one resource. Later, an Australian professor of theatre contacted Lambah and sent over a 1916 brochure with photographs detailing the design of the foyer, the stage and dress circle lined with wooden seats. It helped reconstruct the side-boxes that had been razed.
In its heyday, the opera house had catered to the wealthy. The large entrance allowed carriages and cars to drive in easily. There were three levels of ascending seats, with separate refreshment rooms and bars on each floor. Cool air harnessed from slabs of ice was sent into the orchestra pit through a set of concealed vents. A fire pump and sprinkler system had been part of the safety arrangements.
Stained glass awnings emerged from underneath layers of black dust. Another find during repairs were the words "next programme" still etched in decorative font on a wall above the box office. Through stills from films of various vintages they found that by the 1970s, the walls of the opera house had been doused in garish green and popsicle pink. Kumud Kumari of the Gondal family, who watched over much of the restoration, was keen that the building be taken back to its original tasteful grandeur.
A fern green colour was chosen for the foyer and corridors, painted with marble stucco effect. This is quite reminiscent of the Bhau Daji Lad museum that was restored around 2007. The woodwork, original light fittings and two chandeliers had survived and needed only minor fixing.
Above the entrances to the auditorium are domes with portraits of writers and musicians including Shakespeare and Byron, which were retouched by students from the Sir JJ School of Art.
The revival has shed light on the venue's prolific history and launched waves of nostalgia, especially among personalities of theatre and the motion pictures. Many big names including Bal Gandharva, Manji Khan, Bapu Pendharkar and Jaddanbai have used the space. Mahatma Gandhi held a meeting there once. Lata Mangeshkar's debut performance was there.
Another sign of the opera house's influence was that it lent its name to the locality, now mainly a centre for gold and diamond trade.
It was not only a place that showed movies but also that was seen in movies. World Film Locations: Mumbai, edited by Helio San Miguel, notes its appearance in Aag. Fifty minutes into the 1948 film, Raj Kapoor's directorial debut, a scene opens with the camera resting on the frieze and then travelling to the words "Royal Opera House".
The structure is rich and imposing, a metaphor for what the big city looks like to a young and out-of-luck Kapoor who has just arrived there.
Another Kapoor had deep ties with the venue. Backstage, on a raised level were two small rooms, one of which served as on office for Prithviraj Kapoor. His first play, Shakuntala, opened there on March 9, 1944, after which all his works were performed there.
In an archival publication listing theatre groups in India, Prithviraj's grandson Kunal, who now runs Prithvi Theatres, came across a mention of Royal Opera House as their official address. He does not have vivid memories of going there as a child but often shot ad films inside in the late 1990s to early 2000s, when it was defunct.
"I used to walk around backstage, up on the catwalks, make-up rooms, balconies, boxes, and foyer, and marvel at the place and imagine what it once must have been like in its glory days," he says.
His cousin, Rishi Kapoor, tweeted about memories including "Dadaji's plays" and "chips, samosa, Mangola". He acted as a sleeping child in one of the plays, and later watched films at the venue.
Film director Milan Luthria recalls his mother taking him to watch films there and at the nearby Roxy Cinema, followed by a walk on the beach nearby. "The seats at the back were cheaper - they were simple backless benches."
Luthria, who studied various city cinemas while shooting a period film, says there is scope for venues like Capitol and Edward to be rejuvenated as well.
Attempts were made to bring back charming cinema places such as Edward and Liberty by hosting high-profile events there, but interest was not always sustained.
Madhusree Dutta was part of a team that screened German films in a bid to draw new crowds to Edward, the city's oldest theatre. "The technical facilities in the theatre are not up to date and so newer films cannot be screened there." Liberty runs the occasional film retrospective, while Edward still caters regularly to a poorer section of the audience.
Although the Royal Opera House hosted the opening night of the annual film festival of Mumbai Academy of Moving Images, films will not be a regular fixture here. The owners would like it to be a hub for the performing arts. "We require a place that is authentic for plays, orchestras and concertos," says Kumud Kumari.
Her team does not reveal the expense of repairs, only saying it cost "blood, sweat and tears."
Asad Lalljee, CEO of Avid Learning (Essar Group), who is in charge of events, says he is also keen on having talks and book launches there. He plans to invite cultural groups like the British Council and Alliance Française de Bombay for tours to show off the space's look, potential and sound quality.
UK-based opera singer Patricia Rozario and a multi-level western classical music group were among the other acts slated to perform in the first week.
"While there is no dearth of cinemas in Mumbai, there is a huge shortage of well designed and managed theatres for live performances," says Kunal Kapoor.
Some believe the venue will be an alternative to the National Centre for Performing Arts, while a few wonder if it will be able to attract younger or middle-income audiences.
Still, against a backdrop of neglected heritage, it is seen as an encouraging symbol. Historian Rao seems to concur with the publicity material for the opera house's unveiling when he observes, "It is a new jewel in Mumbai's crown."