"P A T R A M I T R O"

“P A T R A M I T R O”

Written & Directed by Naushil Mehta

Performed by Darshan Jariwala & Arundhati Nag

Adapted from the English Original of A.R Gurney’s “LOVE LETTERS”
Staged on 14 & 15 June/2007 at Prithvi Theatre, Bombay

Conversation with Naushil Mehta

Ankur B. Saraiya (AS): what inspired you to write this play?

Naushil Mehta (NM): I had no money. It was an inexpensive production. So I wrote and produced it.

 

AS: How did Jawahar and Kalpana come into existence?

NM: I had not seen Javedsaab’s ‘Tumhari Amrita’ but had heard immense praise for it. I wanted to see it, but am glad that I did not get to; as I got to start ‘Patramitro’ on a clean slate. In a way… Jawahar is’ or rather aspires to be’ the kind of a man that Jawaharlal Nehru envisioned India should have. Hence, I gave the character the name Jawahar. I have grown up in a world where Nehru was very much respected and his ideas were considered to have a lot of weight. And Kalpana? Well, Kalpana was the logical progression from that word, Kalpana was JAWAHAR NI KALPANA (Jawahar’s imagination); the dream that India had.

 

AS: The idea behind using the script of the play as an on-stage prop?

NM: I see the years flying off and lying at the feet of the actors who’re reading the text, letting the letters go after they read them. The language used to convey feelings intended so much... and so little of it actually reaches the other person... I enjoyed that image... the idea of the set being constructed as the play goes on... as the puddle of language... at the actors’ feet.

 

AS: You change the combination of artistes many times. Why?

NM: It’s a very easy play to produce; you just need 6 days of rehearsals with good actors. Whenever I have found two good actors willing to do the play, I have staged it. I haven’t written this play keeping a particular cast in mind. A.R Gurney has written in the introduction to ‘Love Letters’ that dozens of combinations of actors have performed it. I love that idea. I read the play quite accidentally. If I hadn’t read ‘Love Letters’, I wouldn’t have thought of writing ‘Patramitro’. I think he’s written a brilliant script. Gurney’s play really travels well through different cultures and I was really quite pleased participate in the journey such a wonderful play.

 

AS: What inspired you to cast Arundhati Nag for the play after knowing that she hadn’t performed in a Gujarati Play for almost 3 Decades?

NM: Arundhati and I have been friends for more then 3 decades; and we hadn’t yet managed to work together. We were looking for something to work on together. This was a simple production and she happened to have a block of time free at that point. Even Darshan (Jariwala) happened to be free and so the play came alive. I enjoyed working with her very much and am looking forward to do more work with her. It’s important for me to thank Darshan Jariwala for his participation. When I began writing the play against the impossible deadline of just four weeks to the opening, Darshan was the one who pushed me to complete this play. He would meet me once every evening to see my progress with Jawahar and Kalpana. Without his constant encouragement, this play would not have been possible.

 

AS: Are you looking forward to some other couple performing this play?

NM: I am not really looking for a new couple but if I find somebody interesting then I would certainly want to do it. I did this play for fun (laughs)… and if an opportunity to stage this play again with different actors comes up, why not?

Conversation with Darshan Jariwala 

Ankur B.Saraiya: (AS) How did you feel while playing Jawahar?

Darshan Jariwala: (DJ)  Well… I felt great!

 

AS: You have performed this play with three different co-artists, who was your favorite?

DJ: All of them had their own unique way of doing the play. Unfortunately, I was unable to see them while performing. In the play I face away from Kalpana. I was just able to hear their voices. From what I heard, I could make out their distinct styles and the newness that they brought to the play.

 

AS: The part of the play that you liked most?

DJ: The thing I like about the play is that it is an adaptation from A.R Gurney’s English ‘Love Letters’.

 

AS: You did play an active part in the writing process also….

DJ: No, not actually. I followed up very enthusiastically with Naushil so he would finish writing the play in time.

 

AS: Do you really look forward to perform this play with yet another co-artiste?

DJ: I don’t worry unnecessarily about working with different actors. For me, the play is more important than the co-artiste.

Conversation with Arundhati Nag:

Ankur B. Saraiya: (AS) What was interesting about Kalpana?

Arundhati Nag: (AG) The fact that she is an extremely self-willed woman. I would even call her God’s own child. (laughs).

 

AS: You came all the way from Bangalore to perform. Why?

AG: It was easy yet difficult. To speak a language after 29 years is the best experience. That too, with an actor like Darshan whose Gujarati is so good; and a writer-director like Naushil whose Gujarati is at its best. It was just the right time to do it.

 

AS: It’s almost three decades since you performed in Gujarati. (Arundhati laughs). Did you find it difficult in recollecting the language or were the words still familiar to you?

AG: In a way, I had never gone away. But it was not an easy task to perform in Gujarati, when for all these years I had been working in Kannada theatre. Sometimes, a Marathi or Hindi influence would creep into my diction, but Naushil was there to correct me and with rehearsals, my Gujarati improved.

 

AS: What was tougher, the character or the script?

AG: Actually, neither. For me what was tough was getting the finer points of the language right and getting into the rhythm of the language... which took me about 2-3 days. Initially, I came to Mumbai for a week and that was the toughest time. It took me 4 days to get into the rhythm of the language. Every language has its own rhythm. So that was the tough part. Once you get into the rhythm of the language, you are almost 75% fine.

 

AS: You have performed Javedsaheb’s “Tumhari Amrita” also?

AG: I have done it in Kannada.

 

AS: Tell us something about “Tumhari Amrita” in Kannada?

AG: It was completely different from what Naushil has done with PATRAMITRO. Naushil has woven the script into the Gujarat map. So he has Baroda School of Fine Arts, he has Gulam Mohammad Sheikh and Bhupen Khakhar. Bhupen is portrayed as though he were a person close to the characters. In ‘Tumhari Amrita’, there is a Hindu girl and a Muslim boy. It has been placed against the backdrop of Aligharh Muslim University and Banaras Hindu University. This isn’t the case with PATRAMITRO. Naushil has, on the contrary, based PATRAMITRO in post-partition India right from the era of Nehru to that of Rajiv Gandhi. A complete political background has been created by him. The background of Patramitro hence becomes very different from that of ‘Tumhari Amrita’. I did not even question Naushil about the character of Kalpana.

 

AS: So, PATRAMITRO is Naushil’s own interpretation of ‘Love Letters’.

AG: Yes, absolutely. The author has his own way of creating the character. Naushil has done that and I haven’t ever questioned his creativity.

Me and my team would like to thank Mr. Naushil Mehta, Mr. Darshan Jariwala and Ms. Arundhati Nag for providing us there valuable time for the interview.

Interviewed by

Ankur B. Saraiya

(Date: June 25, 2007)

"Jaagine Joun To..."

RELIVING THE MAGIC OF NARSINH MEHTA…

Conversation with various people associated with the play

‘JAAGINE JOUN TO...’

PREMIRED at PRITHVI FESTIVAL on 10/OCT

 In this era, the roots of our folk culture and art are getting vanishing day by day, here is tremendous afford by senior and legendry theatre people who want to bring back our memories... and start planting the roots once again. The name of this revolution is JAAGINE JOUN TO… NARASAINYO

SHRI SITHANSHU YASHASHCHANDRA – PLAYWRIGHT

Q: As a leading modern Gujarati poet, what’s your perception of Narsinh Mehta as a poet and as a person?

A: Narsinh Mehta is known as the primal poet (aadi kavi) of Gujarati literature. Before him there were several other poets for three centuries who wrote poetry in Gujarati. In spite of that, Narsinh is counted as the first one because he not only wrote in Gujarati but also his way of feeling and expressing things were Gujarati.

Q: How do you present this understanding in the contemporary Gujarati theatre space?

A: For me Narsinh’s work and life are both associated in the way Gujarat understands its own self and the world. So this play is basically about the Gujarati way of understanding... Since I was keen to know and discover how Gujarat understands itself and rest of the world. 

Q: Would you like to discuss some details of both the credits and the visuals of your script?

A: A play on the stage is the world for the Writer, the Actor, the Director and the artistes of sound, music, lights and stage arrangement. So the details arrive from each of these fields. What is special about this play is my visual and auditory understanding of Narsinh. So for example, at the drop of the second act, where the actor feels that he has lost Narsinh; and at the beginning of the first act, Narsinh feels he has lost Lord Krishna... thereby the two together give this performance a circular motion, and this continuity of loss and discovery is presented very visually and convincingly by our director.

SHRI UTKARSH MAZUMDAR – PRODUCER/DIRECTOR

Q: Why Narsinh Mehta and why Shitanshu Yashashchandra?
A: Narsigh Mehta and Kabeer are my inspirations. Their greatness lies in the fact that their love for God isn’t just confined to themselves. It’s universal... in the sense that it relates to all human beings irrespective of their religious differences. They did not give up their family life and values. They were very clear about what they wanted to do in their lives and all such stimulus came from poetry. What wonderful poetry both of them composed! Not just metaphysical, spiritual and devotional songs but Mehta wrote romantic poetry like Raas Leela and Shringar na Pad as well. To write at that point of time was purely amazing and startling. Also what I find awe-inspiring is that in spite of having so many difficulties and obstacles in life; he never gave up hope and never behaved bitterly or rudely with anybody. For instance: 

“If I tell you that you are a bad actor or you tell me that Utkarshbhai you are a bad actor then anyone of us will react strongly, but in spite of getting abused or humiliated Narsigh says “ Eva to ame eva vadi tameh kaho chho teva re…” meaning “You may say whatever you feel like…… you continue your work an I will do mine.

We know that Narsinh wrote “VAISNAV JAN TO TENE KAHIYE…” it was to bring to fore that other Narsinh, the one who could write Shringar Pad. This is so much relevant in today’s times when the atmosphere has been communalized to a great extent.

And about Sitanshu bhai? I thought he and only he should write, this was my gut feeling and I told him 10 years ago, “Why don’t you write such a thing for me?” In reply he asked me why couldn’t I write it myself… but I told him that I did not want to write. I wanted him to write as he possessed the sensibility and the vision to accomplish the work. After explaining this concern of mine to him, I realized that Narsinh’s work is dear to both of us. Then I told him it will be one man show and he got puzzle because he has never written one man show so then we had long discussion and then ultimately he said, ‘Let me write the first page or a draft…’, and then it all started.

I still remember that night when I read the first draft before my family. They were all moved and touched. My mother and father were literally in tears.   All were impressed thinking that the play had been marvelously written. I told Sitanshu bhai to go ahead with this masterpiece. Kudos to him for pursuing the play with sheer dedication. Afterwards we discussed about putting the draft in the format of a play. Also Naushil (Mehta) was very much there from the word go. His efforts to the making of the play are praiseworthy. Like Naushil, Uday (Mazumdar) helped me with setting the music, balancing both my vividness and emotions. Add to these two brilliant singers, Dr. Parag Jhaveri and Parigna Pandya. Finally when you act or direct a play you must get the pleasure or satisfaction out of it and that is exactly what we all derived out of this play.

Q: Was it worth waiting all this while to direct the play?

A: It’s always worth waiting. That’s why I am producing this play as well. I have a long association with Sitanshu bhai because in 1974 I asked him to write a play for me called “THE LESSON” by Eugene Ionesco, through which he turned from a poet to a playwright. Thus our association goes back a long way.

 
SHRI NAUSHIL MEHTA – LIGHT DESIGN

Q: You are a major theatre personality in Mumbai and a multilingual author. So how do you respond to Shitanshu bhai’s play on Narsinh Mehta?

A: First of all I don’t consider myself to be major anything on the theatre scene. Secondly I love the play. I think it’s the best thing to have happened to Gujarati theatre in recent years. 

Q: Has this script in any way enhanced or changed your perception of Narsinh Mehta as a poet and a person of Gujarati Cultural Theatre?

A: No it has not changed my perception for Narsinh Mehta, but yes it has changed my perception of Gujarati theatre. Earlier I did not believe that a play of this quality was possible on Gujarati Theatre and Siitanshu bhai has surprised as well as shocked me by writing such a beautiful play in our language.

Q: Would you like to discuss some details of the Play?

A: It is a play in verse. It is difficult to believe that a play which is entirely in metre can be performed in 2007 or in the 21st century. But hats off to Sitanshu bhai who has written a play which is not only performance oriented but one in which any actor will die to showcase his acting skills in times to come.

Q: How do you review your own contribution to the Play?

A: I enjoyed designing the lights.

SHRI UDAY MAZUMDAR – MUSIC DIRECTOR

Q: Which beat comes to your mind first when we talk of Narsinh Mehta? Also, how did the music manage to bring Mehta’s character alive?

A: The peculiarity about Narsinh Mehta’s music is that it can be recreated in any part of the century. The phonetics used by him are beautiful, you can find words for every kind of music. His way of conveying things was exceptional.

I did an album called Narsaiyo Bhakt where Harindra Dave did the commentary. It was really melodious. Till date, I and the others still feel like listening to it again and again. Vaishnava Jan is the theme that strikes you first whenever you hear of Narsinh Mehta. He has done lots of traditional compositions too.   With Sitanshu bhai writing this play, Utkarsh bhai going to act and Naushil bhai also present this play; was bound to be a complete play in the true sense of the term. After all, we were looking forward to revisiting Narsinh Mehta’s era.

Mehta’s favorite was JULANA CHHAND. When we sit down to read what all he has written it leaves us spellbound. The best part of Sitanshu bhai writing this play was he has written this play in JULANA CHHAND which is an altogether new way of writing. I believe he is a wonderful writer.

Q: What do you have to say about the performances of the two singers cum actors?
A: When we started out the search for actors we were aware of Dr. Parag Jhaveri’s acting talents. He is a tremendous actor and a good singer. Parigna Pandya is a relatively young artist. She has done the dubbing for Harry Potter’s female lead. The value addition here is that along with having talented voices, both of them have an education in music.

SHRI SUBHASH ASHAR – SET DESIGN 

Q: When did you first hear of Narsinh Mehta?

A: The first play I did was “TOKHAR” which was directed by Mahendra Joshi and was written by Shitanshubhai. So our association has been there for quite a long time. I know exactly what he and Utkarshbhai want. Shitanshubhai is a writer, poet and play write too. Thus, when Utkarshbhai called me up, I was very happy about getting an opportunity to work with Shitanshubhai. After hearing the script, I got to know that it’s about the life of Vaishnava’s… Hence I have designed the sets accordingly. The play being performed at Prithvi, it’s meaningless to construct a heavy set design. I wished to keep it as simple as possible by placing Tilak in the center and using Flute and Naag as symbols. This design appealed a lot to Naushilbhai and Utkarshbhai and they approved it immediately. 

Summing it up all, the more we praise Narsinh Mehta…… the less it seems. Hopes rest on this play… on how successfully it revives the spirit of Mehta and makes him a figure worthy of our appreciation.

Interviewed by

Ankur B. Saraiya

(Date: 06 November, 2007)

"Huto Ane Huti... Oy Yaa"

Exploring the new face of Gujarati Theatre with MANOJ SHAH

"HUTO ANE HUTI...OH YAA."

PREMIERED at PRITHVI FESTIVAL'07 on 9/OCT 

Manoj bhai is among the very few Gujarati’s who do not require any kind of introduction. So lets hear what he has to say about his upcoming and yet another Gujarati musical, “HUTO ANE HUTE…OH YAA.”

Q: Where did the idea of scripting this play come from?
A: “We were looking for a play which embodied and reflected western culture and western values. Now it has been some 7 to 8 years since the seed of this play sprouted in my mind. I wanted Chandu (Chandrakant Shah) to write such a play for me and at that time Chandu did a play called “KHELAIYA” for small kids, after which we did “MASTER PHOOLMANI”. It was totally different in the sense that the play was completely performed by elderly people. After doing Phoolmani I travelled a lot in terms of doing different plays like “AKHO AAKHA BOLO” then I did “MIRANDE” then “MAREEZ”, “GUJARAT NI ASHMITA” and “APURVA AVSAR”.

Q: How did Prithvi Theatre get involved with the production of the play?
A: “Just when my tour to the U.S.A was getting arranged I met Sanjana Kapoor. She told me that as I had done lots of musicals, she wanted me to do one for Prithvi Festival’07. During that time the idea was that I already had a play ready i.e. “GUJARAT NI ASHMITA” where there were 42 to 45 actors and 15 musicians. But after doing “APURVA AVSAR” I realized that if you want your play to run for a longer period of time, then you have to have a play like MINIMULISTIC CONTEMPORARY. This is relevant because now a days when everything has to minimize in contemporary art, pure performance should be seen.

There was some understanding between me and Chandu. It was decided that he will write something. So when I went for “APURVA AVSAR” tour, we just discussed a bit and I was very excited that he will script me a play but he did not. I was disappointed but to my utter surprise when I returned back after finishing my tour, he was ready with the play, then he send me a page, then a scene, then I started receiving scenes after scenes, so I was again in the same situation as PHOOLMANI where I used to receive FAX everyday and this time the only difference is that I am receiving the play on e-mail… sometimes I receive a page, maybe half (page), but everything on e-mail.

Q: How will this play appeal to the audiences?
A: “I was very excited about doing a play with youngsters because of the frightening fact that nowadays kids don’t speak Gujarati, and if by chance these kids come to see the play at Bhaidas or Tejpal, they find them dull and boring. Thus they end up disliking the play. The reason behind this is that they are looking for something which is related to them, with their problems, their happiness, which fits in their culture… where they can express and have fun. They want to see something with which they can identify. So I created this play in such a way that a 16 year old kid can come with his girlfriend to see it and I am certain that it will make them feel like they are very much at Barista, Café Coffee Day or Night Disco. Along with them parents will also come to know what their child is thinking, what he/she really is, as well as what he/she wants to be in terms of individual personality. Parents are also bound to enjoy the play because the issues about which they are not able to talk freely with their children are all narrated and represented here. It’s not just a talk on cultural exchanges, but a talk on generation exchanges. The style of the play is all stated in contemporary sense… its costumes, lights, sets, and property… everything. This play is for those who want to live, enjoy and feel the performance.

Q: Whose idea was it, to make such a play?
A: “In our group there is a singer Dr. Parag Jhaveri, who performed in Phoolmani, and he was very excited about doing such a play. Also Chiraj Vora was very eager to do one more musical after Phoolmani. So if Chirag wouldn’t have forced me to do this play I might have not done it because I was totally accosted and blank after Apurva Avsar, as I was almost bank corrupt. I thought I might as well take a break for at least a year and think of doing something after that, because I was in such a mental state that I wanted to go home and take little bit of rest. But I was in America and Chirag was here. He being very excited to do this play kept on calling me up a lot. Then there was Prateek who was very excited and eager to choreograph but unfortunately his hand is fractured right now. So it was very much a group and team effort and excitement which made me do this play. But of course if there wouldn’t have been the Prithvi Fest attraction then this production would not have been possible. So hearty thanks to Prithvi Festival and Santana Kapoor. Because still I haven’t been able to come out of the intercollegiate atmosphere convincing myself that I will do a play for a Fest as well (laughs). So it’s like if 10 people are doing a play then I should also do it, and that kind of stimulus I got from Prithvi because we have such an exemplary audience at Prithvi.

Q: Tell us about the Casts?
A: I select the actors who they are and how they fit into my script, so that the script gets evolved them so I work in all production like that. So I work with live actors not the return world which is printed. So it makes sense to me about the actors which whom I am working with, whom I know very well, they know me very well so this is how I work. for one of female character I have auditioned over 30 girls which were Bengali, Marathi, South Indian and gave add on website also then finally I found a Gujarati girl call Shruti Gholap. So, these are four people whom I know from years except Shruti Gholap with whom I did only one play befor, but I have worked a lot with Kumkum (Das), with Chiraj (Vora) and with Amit (Mistry) I have spent time with him a lot, because he is also very much a part of the team… he also acted in one of my play, so we are like a gang.
So, Manoj Shah is back with his team and his Gujarati Band at this Mumbai Musical Prithvi Festival 2007.

My experience: Was involved in this play as a helping hands, because I dint wanted to miss the opportunity to work with Manoj sir and nothing but the best was expected out of him, So was very excited that his play turns out to be one of the main attractions at the Prithvi Fest and it did, a part from Actors performance audience really appreciated Piyush Kanojia’s music and Bahutesh Vyas’s lights.

Our sincere thanks to Mr. Manoj Shah for providing us with the details of the play, and I am sure people who missed this performance at Prithvi won’t repeat the same mistake again when it’s performed next.

You can watch glimpse of HUTO ANE HUTE…OH YAA on YouTube

http://www.youtube.com/watch?v=xJXN5A2AulE

http://www.youtube.com/watch?v=yh3lDncSigc&feature=related

http://www.youtube.com/watch?v=rx2R20Li0U8&feature=related

http://www.youtube.com/watch?v=H7WWcjOnX4c&feature=related

http://www.youtube.com/watch?v=wpG2FnETl2o

http://www.youtube.com/watch?v=cdNSf55qKJU&feature=related

http://www.youtube.com/watch?v=8Oc41EtQKjA 

Interviewed by                                                                                                                    
Ankur B. Saraiya

(Date: 08/November, 2007)

Welcome

hello friends,

Thanks for visiting my Blog site...

For me Blogging is not about writing only poems or about myself, its about writing something that can make some sense. I have already started writing few things and will post it soon. So please keep visiting my Blog.

Currently I am posting couple of in-conversation which i took in past and as soon as I will finish writing something new it will be out for you to read.

Warm Regards,
Ankur B. Saraiya

Bombay, INDIA