With the 16th edition of his Ansh Manch Theatre Festival, Makarand Deshpande continues his journey of exploring life’s surreal and mythical qualities
Makarand Deshpande (centre) rehearses with the cast for the new play, Qatl
The July downpour in a Mumbai monsoon is no hindrance to the passion of theatre. Especially for an actor who calls it his temple. Playwright Makarand Deshpande is busy with preparations for the upcoming Ansh Manch Theatre Festival as this writer connects with him on a call. “Theatre never stops,” he reminds us pointedly. The festival kicks off tomorrow and brings to the Prithvi Theatre stage seven productions over a span of five days.
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“I had five more plays that I could have added to the list,” Deshpande reveals. But he was exploring the potential possibilities. Myths and magical stories have always fascinated the playwright, and the compendium of productions at the festival this year reflects it. “The epics have always intrigued me, more than plays. It is thoughts, poems and novels. From Bhasa to Molière, to the poetry of Ramcharitmanas, I find joy in them,” he reveals.
A moment from the troupe’s iconic play, Sir Sir Sarla
Among these loves is an affinity for classical music that finds its way onto stage in the opening performance of Patni. “It is a unique idea, I admit. As is tradition, we often have music to open a festival or a musical session, I thought of taking it a step further with a musical performance. It is almost a jugalbandi, a conversation between myself and Niladri Kumar on stage with the music as our connection,” he says. This need for expression is a constant theme through other productions like Manushya — a personal favourite, he admits — and Sir, Premacha Kay Karaycha! among others.
Another experiment is the play, Qatl, that will premiere at the festival this year. Featuring Deshpande, Sanjay Dadhich, Aditi Pohankar, Akanksha Gade, Ninad Limaye among other actors, the play is a sarcastic take on an artless society. “It tells the story of a man murdered by Sur, Shringar and Taal. This is a metaphor for commerce’s dominance over art. It is a constant struggle,” the writer admits.
A moment from the troupe’s iconic play, Sir Sir Sarla
The 58-year old is more than familiar with this conflict. His journey in theatre began in the early ’90s, when the city was ruled by playwrights like Satyadev Dubey, Vijay Tendulkar, Girish Karnad and Shanta Gokhale among others. “Back then, there was no medium for expression for us other than the theatre. The Mumbai audience was known for its love of theatre. They still are. But back then, those playwrights were purists, and would fight for theatre,” he recalls.
From his first play, Naayam in 1995 to roles in cinema, television and OTT, he has managed to steer clear of depending on theatre for finance. “Even names such as Dubey and Karnad were writers and lecturers. Theatre was not their only means of living. Most members of our troupe do theatre to seek a means of expression,” he states. Recalling Dubey’s advice to him, Deshpande says, “He told me don’t lose your quirkiness. It is your strength. Do not try to explain your world to anyone else. Show it on the stage.”
Deshpande in Manushya
Yet, there is always the commerce of management that looms large over any production. Even as he speaks, this writer can hear the playwright multitask with instructions to his team. There are costumes to decide on, final checks to be completed and sound to be corrected. “The one thing that has not changed is the hunger, before and after performances. Theatre is meant for the struggle and shaping of craft.”
Through it all, there is the quirkiness and surrealism. As he leaves us with a recommendation to read the Sanskrit plays of Bhasa, Deshpande sums up his craft, “All our productions are born of the emotional landscape that we live in, and the events that take place in them. My plays are a medium of life.”
DATES July 16 to July 21
TIME 5 pm onwards
AT Prithvi Theatre, Janki Kutir, Juhu Church Road, Juhu.
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