Stage to switch over

Hindi theatre stands rejuvenated today thanks to the entry of stars, some fading, of the big screen. And the stage does offer them something in return. V. GANGADHAR analyses the scene.

RECENTLY THE entertainment section of the Sunday papers in Mumbai had eight ads for plays which featured film stars of varying luminosity. Shakespeare did say "All the world is a stage and all the men and women players". The quote appears to have been taken seriously by local film stars.

The latest entrants include one-time hero and BJP politician Shatrughan Sinha ("Pati, Patni aur Mein"), Nana Patekar ("Purush"), Shekar Suman ("Woh Tum Bhi ho"), Jaya Bachchan ("Dr Mukta") and Paresh Rawal ("Khel"). Alongside these are the old war horses from the theatre who have strayed into films and who are still eager to return to scenes of their old glory. Naseeruddin Shah has come out with a new play, "Ismat Apa ke Naam". Shabana Azmi and Farooq Shaikh are enjoying the revival of their "Tumhari Amrita" (250 shows in nine years) while Anupam and Kiron Kher's "Saalgirah" still draws crowds.

The list does not end there. Former matinee idol, Rajesh Khanna, who began his acting career while in college talked about a return to theatre, with former wife Dimple Kapadia as co-star. In typical filmi style, Dimple denies this, but Khanna is determined to do the play. Manoj Bajpai, busy with several films, says he will return to the stage in December with a play directed by Barry John who was his "guru" at Delhi's National School of Drama.

Meanwhile, Mumbai theatre lovers are not complaining. They are prepared to pay big money (Rs. 100 to Rs. 600 for a show) to watch their favourite stars emote live before audiences. Even those who did not favour the influx of film stars on to the stage admit that their presence has boosted a sagging Hindi theatre. Points out actor Farooq Shaikh, who began his career with the Indian People's Theatre Association (IPTA), "I remember the days when our plays ran to empty houses at Tejpal auditorium despite low admission rates ranging from Re.1 to Rs. 5. It was the same even during the holidays. Today, the halls are packed. People do not mind paying high rates to watch stars on stage."

"The entry of film stars into theatre is the best thing to have happened. It has helped break the monotony of the proceedings", agrees Anupam Kher. After a long absence from the stage, Anupam is not only the producer of "Saalgirah". He also stars in it. "Producers were finding it difficult to come up with new shows, but today all that has changed. I welcome Jaya Bachchan and other film personalities to the Hindi stage", he adds.

It is true that Mumbai's Hindi stage was languishing mainly because of lack of identity. Advertisers and sponsors favoured English plays, even crude bedroom farces. Gujarati audiences thronged the halls to watch thrillers and sex comedies in their own language. Marathi plays with low production costs and innovative themes had its own supporters. Only serious Hindi theatre floundered.

Veteran Hindi stage actor Dinesh Thakur, whose group, ANK, will complete 25 years in October, sounds bitter because despite a good track record and enviable longevity he cannot find a sponsor for his new play. Thakur is not impressed with the inflow of film stars on the stage "I think this is a temporary phase", he says. "How committed to the stage are film stars? They come and go and the initial novelty wears off soon." But Thakur is quick to exclude actors like Naseeruddin Shah or Anupam Kher whose roots lie in genuine theatre. "Filmi glamour does not succeed all the time", he points out. "Jaya Bachchan's second play, "Dr Mukta'', flopped and so did Nana Patekar's `Purush'".

Dinesh Thakur questions the motives of some of the recent film stars who have begun to favour the stage. He may have a point. Rajesh Khanna, it is said, would do theatre to get media publicity. Drama critics point out that Shatrughan Sinha in his "Pati, Patni aur Mein", where he played the role of the sutradar (chorus), exploited the situation to score over his rivals in the BJP. His political acumen is clearly evident in the dialogue which contains references to the fast changing political developments in U.P., the Tehelka tapes and the failure of the Agra summit. Such a play, points out Dinesh Thakur, readily finds sponsors and political backing. "How can this be good for Hindi theatre?" he asks.

Some fading actors try to seek refuge and possible resurrection on the stage. The former `baddie' of Hindi films, Ranjeet, starred in an English bedroom farce which sank without a trace. Nana Patekar's "Purush" came at a time when he was no longer a sought-after hero.

Many of the stars who flit between the stage and the screen acknowledge that discipline, long hours of rehearsals and prospects of performing before a live audience are major challenges. Explains Farooq Shaikh, "On the stage, an actor needs immense concentration, preparation and the feeling he is part of a team. He should also be careful about the choice of roles."

On the cinema-stage switch over, Feroz Khan, who has handled film artistes Shabana, Naseer, Farooq and Anupam Kher in successful plays such as "Tumhari Amrita", " Mahatma vs Gandhi " and "Saalgirah"says, "I am very careful in selecting actors for my plays. These people in question originally belonged to the theatre. They understood its discipline and the hard work involved."

Feroz Khan laughs when asked about star tantrums and their interference in direction. "Film stars cannot afford to bring in their filmi culture to theatre, I mean, indiscipline, late arrival, interference from chamchas and so on. They must understand that the director has the last word. My actors receive no special treatment.They are treated like unit members and are subject to the discipline code applicable to everyone else. I have had no problems with them."

Anupam Kher, whose play "Saalgirah" was directed by Feroz Khan, calls him a `pioneer' in the art of handling film stars. "Feroz is a true professional, and a taskmaster but it is a pleasure to work with him. In fact, he is directing my next play which is based on my own life."

Farooq Shaikh who did "Tumhari Amrita" along with Shabana Azmi says, director Feroz Khan always had the last word. According to the play both Farooq Shaikh and Shabana Azmi had to sit on chairs on the stage, in front of desks, and read out letters on their relationship_ letters that had been received over a period of time."We were a bit nervous about our immobility on the stage and suggested that occasionally we walked around or slouched a bit. But Feroz did not accept our suggestion and his stand proved correct. The only change effected during the 250 odd shows was the removal of one painting from the sets", says Farooq.

Film stars also came to the stage to experiment, rekindle their creative energy and recharge their batteries. Dalip Tahil always plays to perfection the role of the outrageous villain on the Hindi screen. Lacking traditional good looks, he could never make it as a hero. "I knew my limitations and the stage offered me an alternative," admits Tahil, who produced and starred in an expensive musical, "Don Quixote: The Man of La Mancha", sometime ago. Endowed with a great singing voice, Tahil acted in the Alyque Padamsee version of the same play and also in "Evita". "`Don Quixote' was a theatre classic and the lead role was a real challenge. I had to produce the play myself and also star in it." Obviously, the experience made up for all those monotonous film roles.

Sometimes, a shrewd director is able to spot talent and exploit it to the full. Satish Kaushik, a student of NSD, was a struggling actor in Hindi films when Feroz Khan offered him the lead role in "Salesman Ramlal", based on the Arthur Miller classic, "The Death of a Salesman". Feroz had seen Satish in Mumbai productions, such as Maxim Gorky's "Lower Depths"and IPTA's "Bichu".

"I knew he was ideal for the part of Ramlal", Feroz goes on to explain. "A fat guy who is also funny. He has to convince audiences that tragedy can be part of funny situations. At that time Satish was a bit depressed and not keeping well. But he was desperately keen to play the role and prove to the world his acting abilities. I could not have chosen anyone else." Satish Kaushik got into shape, worked hard and never missed rehearsals. "Ramlal" was a hit. In addition, Kaushik hit pay dirt as director, with "Hum Dil De Chuke Sanam".

Will the influx of film stars affect the sanctity of the stage? Anupam Kher laughs. "Where is the sanctity of the stage if no one comes to watch the plays?" he asks. "Why don't we leave this to the audiences? If tomorrow, Govinda wants to do a play, he should be welcomed. It is no joke, remembering lines, facing a live audience. Only the talented will survive."

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