Documentos de Académico
Documentos de Profesional
Documentos de Cultura
JUNE 2011
Women of Power
Showcasing Shakti through dance
Stage to Screen
National Theatre London brings
Frankenstein to NCPA’s stages
Frankenstein
Danny Boyle’s
1
On Stage June 2011
1
On Stage June 2011
from the
chairman’s
desk
A facility that members, as well as col-
laborators and supporters have been
constantly requesting, is a proper theatre
breakfast to dinner time. Its vast spaces
should be filled with events that will make
it an attractive destination for people
tions abroad, so that the best interna-
tional offerings are available for viewing
by NCPA members and the public.
restaurant and café that would cater, from all walks of life.
not only to young visitors to the NCPA The NCPA will also embark on a new prop-
and members before and after perfor- An exciting event this month is the first ma- erty named NCPA Legends, where we
mances, but also to the general public, jor collaboration the NCPA will have with will ask current artistes in various genres
to spend time in pleasant surroundings a prestigious foreign organisation, the Na- to pay tribute to legendary performers in
and enjoy culinary delights over a wide tional Theatre in London. Although we are all spheres of music. The first concert will
range of cuisines. In accordance with offered direct broadcasts of their plays, feature the popular Gary Lawyer, paying
these requests, a new restaurant, chris- this would obviously be inconvenient due tribute to the King of Rock and Roll – Elvis
tened Amadeus, will be opened around to the time difference. We have therefore Presley. We will also screen Elvis films a
mid-June. decided to show these unique events few days prior to the performance.
very soon after the actual performance
One of the areas that need attention at in London. The NCPA is equipping one of In Indian dance, we will be highlight-
the NCPA, is the inability to provide suf- its theatres to ensure a thrilling experience ing the Devi, the female character of
ficient entertainment facilities for its mem- and theatre goers will be surprised at Indian Dance.
bers during the day. `We are basically a the quality of the presentation provided.
bunch of theatres that come alive in the Watch out for the announcement in this We have also decided that we will be
evenings and have hardly any activities first series of performances with Danny highlighting future performances in each
during the day. This is a situation we seek Boyle’s Frankenstein. issue of On Stage, so that members can
to remedy by gradually creating pro- mark their calendars well in advance,
grammes and facilities, which will make In the future, we hope to have many such and also arrange for early openings at
the NCPA a desirable venue to visit from collaborations with prestigious organisa- the Box Office.
Khushroo N. Suntook
2
On Stage June 2011
J une 2 0 11
Letters
Frankenstein Danny Boyle’s
to the editor
Danny Boyle’s Frankenstein will send shiver’s down
Mumbai’s spine this summer!
Consulting Editor: Anushree Chatterjee It was indeed an ecstatic experience attending the Mudra Dance Week, 2011.
Deputy Editor-in-Chief: Jaideep VG
The entire range of performances, with such great dancers from various styles,
Editorial Co-ordinators: Divya Mishra, Priyanka Mathur
Hilda Darukhanawalla
was beautifully organised and presented. I thoroughly enjoyed the flavours of
Art Director: Rahul Das each of the genres and will look forward to the same in the forthcoming events.
National Photo Editor & Art Director: – Amrita Mukherjee
Chirodeep Chaudhuri
PR Manager: Rashmi Dhanwani NCPA’s Mudra Dance Week truly showcased some of the finest artistes who
Senior RM Sales (West): Vishwanath Shanbhag
are exploring the depths of Indian classical dance today. In particular, Margi
Designers: Brijesh Gajjar, Chittaranjan Modhave
Vijayakumar’s Poothana Moksham was a spectacular performance. One was
Digital Imaging: Devang H Makwana
left completely mesmerised, forgetting that the dancer was a male, in sthree
Published by Deepak Bajaj for vesham!
The National Centre for the Performing Arts,
Also, it was a rare treat for Mumbai’s dance lovers, for whom Kathakali perfor-
NCPA Marg, Nariman Point,
Mumbai 400 021.
mances in their home town is quite a rarity.
– Purnima Patni
Produced by
Please feel free to write in with your comments to Lily Shroff (Relationship
Manager – On Stage). We are committed to providing you with an enjoyable
Project Management Team
Editor in chief: Naresh Fernandes
magazine and look forward to your feedback after each issue. We’d
Chief Operating Officer: Rajnish Rawat like to know what you think about our programmes and our stories, and look
Chairperson: Smiti Kanodia forward to bringing you exciting events on an ongoing basis. You may send
Editorial Office
an email to lilyshroff.ncpa@gmail.com with your comments and feedback.
Essar House, 11 KK Marg,
PO Box No. 7964,
Mahalaxmi,
Mumbai 400 034.
E-mail: lettersonstage@gmail.com
Printed at
NCPA Departments
Ganesh Mudra,
208 Atlas Mill Compound, NCPA Chairman: Indian Music:
Near Reay Road Station ( W ), Khushroo N. Suntook Dr. Suvarnalata Rao,
Dr Baristor Nath Marg,
Mazgaon Mumbai – 10
Head – Programming
Materials in On Stage cannot be International Music:
Marketing,
reproduced in part or whole without Farrahnaz Irani
the written permission of the publisher. Sales & Administration:
Sr.Manager – Programming
Views and opinions expressed in this Deepak Bajaj,
magazine are not necessarily those
of the publisher. All rights reserved.
Director Theatre & Film:
Deepa Gahlot,
NCPA Booking Office
2282 4567 / 6654 8135 / 6622 3724 Head – Programming
www.ncpamumbai.com Jt. Executive Director:
Dance:
www.soimumbai.in D. B. Biswas
Amrita Lahiri,
We look forward to your feedback and Head – Programming
suggestions on the NCPA’s programmes, as well
as our magazine On Stage. Please do write in to Centre of Photography as
The Editor – On Stage,
an Art Form:
The National Centre for the Performing Arts,
NCPA Marg, Nariman Point, Mumbai 400 021 or Mukesh Parpiani,
E-mail lettersonstage@gmail.com, or Head – Piramal Art Gallery
Fax (022) 6622 3830.
contents
10 A tribute to the
King of Rock ‘n’ Roll
The NCPA pays tribute to Elvis Presley. Lily Shroff
takes us through this musical journey.
12 On Stage Explores
04 14
– Shringar rasa
Isabel Putinja studies jewellery, one of the
prime aspects of an Indian dancer’s couture.
On Stage Global
Stage to Screen – World Views
A look around the world for the most exciting
Deepa Gahlot tells us why watching performing arts events in June.
the theatre broadcast of Danny Boyle’s
Frankenstein is a must-do this month.
15 Programme
Guide
All of June’s events at the NCPA.
29 Glimpses of
April and May 2011
All that was memorable in the last
two months.
08 30 July 2011
Highlights
What to look forward to in the coming month.
Women of Power
Odissi and Bharata Natyam dancers pay
homage to the eternal Shakti through their
performances. Karanjeet Kaur tells us more.
32 NCPA
News
New developments at the NCPA.
4
On Stage June 2011
Stage t
Screen
A collaboration between the
NCPA and London’s National
Theatre allows Mumbai
audiences to experience
the best of British Theatre.
Deepa Gahlot tells us more
T
he NCPA always endeavours to bring
its audiences the best theatre proj-
ects from across the world. For the first
time in India, a collaboration with the UK’s
National Theatre will enable audiences in
Mumbai to see what the world is watch-
ing — not on stage, but through high qual-
ity digital recordings shot live. The National
Theatre Live (NT Live) is a ground breaking
initiative to broadcast the best of live British
theatre around the world. The first NT Live
production, which will be showcased only
at the NCPA, is Danny Boyle’s smash hit,
Frankenstein. This grand stage version of
the Mary Shelley classic, adapted by Nick
Dear, has a cast led by Benedict Cum-
berbatch and Jonny Lee Miller alternating
the roles of Victor Frankenstein and the
Creature. Audiences will have the
chance to see both combina-
tions. Described as “visionary,”
“mesmerising,” “stunning” and
“brilliant,” the production by the
Oscar-winning Slumdog Million-
aire director, has garnered rave
reviews in the press.
5
On Stage June 2011
In this gothic horror story, a scientist makes of the story have denied it to him. Start-
a human creature out of separate body ing from the Creature’s point of view was "Once you get going,
parts and brings him to life. Then, horrified
at the sight of the monster he has cre-
the key to unlocking the adaptation. The
key to then getting the production up and
you need to balance
ated, he casts it away. The ugly innocent running was to rebalance the story. Once the Creature with his
creature encounters hostility and cruelty you don’t start with Victor Frankenstein, it’s
wherever he goes and in desperation, fantastically refreshing because it means obsession, his creator.
then sets out to track down his creator…
“Urgent concerns of scientific responsibil-
that you have to rethink everything. Once
you get going, you need to balance the
So we rebalanced our
ity, parental neglect, cognitive develop- Creature with his obsession, his creator. So approach by
ment and the nature of good and evil are we rebalanced our approach by coming
embedded within this thrilling and deeply up with the idea of double casting the coming up with the
disturbing classic gothic tale,” reads the NT
Live release.
actors. If you are going to do that, Victor
ultimately has to be an equal. So the first
idea of double
half of the play, the first 20 or 30 minutes, casting the actors."
The first ten weeks of Frankenstein were is very much from the Creature’s point
sold out in advance; after its resound- of view. And then it shifts to being this David Sabel, Head of Digital Media and
ing success, the production run was ex- great debate between the two of them. Producer, NT Live, says, “The concept be-
tended. The performance of the play has We wanted to get away from movie im- hind Danny Boyle’s Frankenstein is that the
been broadcast to 375 screens around ages of the Creature and also the idea two lead actors are alternating the roles
the world so far. According to estimates, that he is a stitched-together series of of the Creature and Victor Frankenstein.
over 100,000 people worldwide watched parts, he’s a whole body that has been The concept is to look at the duality and
the shows. Upto eight cameras were operated on internally. You’ll see evi- fusion of these two characters – the rela-
employed to capture the broadcast the dence of his internal organs in the play. tionship of master/servant and creator/
same and make it dynamic and visually Shelley clearly based Frankenstein on creation, how they affect each other and
exciting. In an interview with The Times, Percy Bysshe Shelley and Lord Byron, the what they learn from each other. It’s a re-
London, Boyle said, “I haven’t directed extraordinary men in her life. They were ally fascinating approach and many peo-
plays for 15 years but Frankenstein has egotistical romantics who were obsessed ple are booking to see both versions here
been on my mind for a long time. I first with science. Of course, the play em- at the theatre – the scripts are the same,
talked to the playwright Nick Dear about phasises that by putting two men at the but the staging and performances vary.”
the idea of doing an adaptation of Mary heart of creation, women are excluded.
Shelley’s novel when we worked on The And in reality, there was Mary Shelley con- Now Mumbai audiences will see this
Last Days of Don Juan at the Royal Shake- stantly going through pregnancies, losing breathtaking production on screen, mark-
speare Company. Nick’s first drafts were children and writing this incredible book. ing the start of high quality screenings of
faithful to the novel until we came up with Whenever she got pregnant, she fell ill! National Theatre's productions at the NCPA.
this idea of opening the play from the He couldn’t stand her having all the at-
Creature’s point of view. Doing so gave tention. And so Frankenstein became a Frankenstein is on June 17, 18 and 19.
the Creature his voice back; Shelley gave brilliant depiction of the self-importance For more information see page 24 of
him a voice, but so many manifestations of men.” the Programme Guide.
6
On Stage June 2011
Reviews of Frankenstein
***** The Times
‘This taut, thrilling play runs with hardly a moment for breath.’
‘Lee Miller is physically wild, free of the slightest self consciousness...’
‘To see (Cumberbatch) hurling himself into the agile physicality and awkward strangeness of the Creature is
revelatory, a quantum leap for his reputation.’
‘... they’re both teriffic...‘It is a theatrical coup.’
‘Mark Tildesley’s stunning design and Bruno Poet’s remarkable lighting effects use the Olivier’s vastness with
controlled, imaginative strength.’
‘The music, by Underworld, is perfect.’
‘... it is rather wonderful: thoughtful, exciting, moving.’
**** Independent
‘Boyle’s role-reversal twist a shocking, haunting success.’
‘Danny Boyle’s extraordinarily haunting production.’
‘Johnny Lee Miller’s astonishing Creature.’
‘Lee Miller gives a whole new lease of life to the term “shock to the system”...’
‘Cumberbatch is brilliant at conveying the blackly ridiculous aspects of the hubristic scientist.’
‘These are imaginative productions that pack a devastating cumulative punch and score a singular success.’
**** Guardian
‘Cumberbatch’s Creature is unforgettable... It is an astonishing performance.’
‘The actors complement each other perfectly.’
‘Boyle’s production is a bravura triumph in which Mark Tildesley’s design provides a whole series of visual coups.’
‘A stunning evening.’
of
The spirit of Shakti,
the feminine force,
is celebrated in the
performances of
Priya Venkataraman
and sisters Leena
and Leesa Mohanty,
writes Karanjeet Kaur
F
or a country with such a de-
pressing gender ratio and a his-
tory of violence against women,
our present belies our collective past.
Our traditional arts and culture, inextri-
cable from our spiritual beliefs, has al-
ways valourised Shakti, or the feminine
force. Classical dancers have referred
to the epics and ancient Indian texts
to illustrate this – and two upcoming
performances at the NCPA this month,
offer fresh perspectives on the same.
Bharatanatyam dancer Priya Venkata-
raman presents Devi, with episodes
culled from Ananda Lahiri and Kalida-
sa’s Kumarasambhavam, while sisters
Leena and Leesa Mohanty perform
a portmanteau Odissi recital Ambaa,
inspired by the Mahabharata.
9
On Stage June 2011
Priya Venkataraman, born and raised in their father took note of a shloka in the
Delhi, was expected to take lessons in Bhagavatam, which enjoined devotees to
classical music and dance like any good enact the Krishna Leela, as the only way
South Indian girl. “I hated my music les- of reaching God in Kalyug. This was also
sons and tried to run away from them all the philosophy behind the creation of the
the time,” she quips. But she gradually cultural organisation Bansi Bilas, a non-
discovered it was in solely dance that her profit organisation, which was established
interest and her heart lay – she took a brief in 1984 by their father, with the mandate to
break during Class 12th to focus on her preserve and propagate Odissi.
studies, and decided she never wanted
to give it up. During her early years, she The organisation engendered several
trained with Guru Saroja Vaidyanathan. productions – including Basanta Raas,
Now, even as she juggles teaching young choreographed by the legendary Guru
disciples in Gurgaon, she keeps shuttling Debaprasad Das, who also taught the
to Chennai to train with A. Lakshman and girls – which travelled from one village to
Bragha Bessell. the next. The troupe then graduated to
performing in temples across Vrindavan,
After her marriage, Priya moved to Illi- especially during the Dussehra holidays.
nois, USA, where she established a dance Meanwhile, Basanta Raas was also pro-
school named Kalakriti. At Kalakriti, she
“Kumarsambhavam was duced as a film that went on to win several
trained over seventy childern, of Indian the only sringara text I State awards, including a best child artiste
diaspora parents, as well as Americans. could find, where the trophy for Leesa.
She straddled teaching with performing all
across the country and abroad, in places Devi is also a lover.” Now, after graduating from the presti-
as diverse as Canada, Colombia and (Priya Venkataraman) gious IRMA (Insitute of Rural Managament
Trinidad and Tobago. She also conducted Anand) in Gujarat, Leesa straddles a ca-
residencies in American schools, where reer in HR by training youngsters, while
she choreographed pieces for children’s Leena trains professional dancers. Along
performances, and even collaborated with their individual practice around the
with the Tony- and Emmy-winning play- world, together they run Bansi Bilas, orga-
wright Terence McNally on A Perfect Ga- nising festivals, such as the First Interna-
nesh in 1993, where she had to “teach a tional Odissi Festival, held in the capital at
pot-bellied man some dance moves”. the Habitat Centre in 1999. Simultaneously,
Leesa also runs the Powai-based Nirguna
Priya’s repertoire is primarily traditional and Centre for Excellence, which trains children
rarely includes any contemporary stylis- in Odissi and Hindustani music.
tic influences. In her latest performance
as well, the dancer has a rather modern The sisters say that most of their perfor-
thematic consideration, but her choreog- mances are oriented around Krishna, often
raphy and the flow of the performance re- highlighting the ‘Shyam-Shyama’ dichoto-
main traditional. The recital is a combina- my inherent in the character. “But we had
tion of heterogeneous set pieces in praise never explored the ‘she’ part in detail, so
of the Devi as the mother, as the protector we decided to dedicate this performance
and as Shiva’s consort. She commences to Ambaa, the feminine force,” says Lee-
with verses from the scripture Ananda La- Page 8: Priya Venkataraman; Page 9 sa. The recital begins with a traditional in-
hiri by Adishankara, followed by a varnam Leesa Mohanty and Leena Mohanty vocatory mangalacharan, dedicated to
in praise of the Devi wherein Parvati is re- Kali – the rest of the performance follows
ferred to as Vishnu’s sister, composed in in the USA. The two will have only a few her in her numerous avatars. Pallavi, set to
Raga Todi. The latter half, or the abhinaya days ahead of the final performance to Raga Basanta, explores the sensuous and
part of the performance has been culled rehearse together, but mercifully, technol- lyrical side of Odissi. As Leesa puts it, as
from Kalidasa’s Kumarsambhavam and ogy has come to their rescue. The sisters sensuality rises, one loses the ability to take
was especially composed for the recital. have been rehearsing and exchanging objective decisions – this part segues into
“This was the only sringara text I could find, notes over Skype. Distance is but a minor the abhinaya bit, where Kunti’s dilemma is
where the Devi is also a lover,” she says. quibble when you’ve spent your childhood focused on. The second part of abhinaya
The evening concludes with a thillana in dedicated to the arts. is the Dasamahavidya, or “the ten forms
Raga Nalinakanthi, composed by mridan- of primordial creative female energy”. The
gam maestro Karaikudi Krishnamurthy. Born in Bhubaneshwar to industrialist and performance fittingly concludes with
Krishna devotee Rabi Narayan Mohanty, Moksha, a dance of release.
If Priya had trouble finding a conceptual the sisters inherited their father’s zeal to be
text, the Mohanty sisters had basic logis- involved in and promote traditional arts. Ambaa is on June 9 and Devi is on June
tical problems – younger sister Leesa is They recall being taken to Vrindavan at 16. For more details see page 20 and
based in Mumbai, while Leena is based a young age, following an incident when 23 of the Programme Guide.
A tribute
to the
King of Rock and Roll
The NCPA presents a tribute to this iconic artiste, whose
immortalised vocals have transcended generations
together. Lily Shroff takes us through this
musical journey.
Famous Quotes on Elvis
Bob Dylan
When I first heard Elvis’ voice I just knew that I wasn’t going
to work for anybody; and nobody was going to be my boss.
Hearing him for the first time was like busting out of jail.
Johnny Cash
Elvis was so good. Every show I did with him, I never missed
the chance to stand in the wings and watch. We all did.
He was that charismatic.
Mick Jagger
He was a unique artist-an original in an area of imitators.
George Klein
Let’s not think of how Elvis died, but how he lived…
the man wasn’t just a star he was a damn galaxy!!’…
Elton John
It was Elvis that got me interested in music. I’ve been an
Elvis fan since I was a kid.
11
On Stage June 2011
W
hen you have a legendary per- drive millions crazy. In an attempt to find of these evergreen composers and sing-
former’s music and songs, cou- privacy post his enormous success, Presley ers to create new waves of entertainment
pled with a rocking band where bought Graceland in Memphis his home, among the Indian audiences. In fact the
in the lead you have Mumbai’s premier which was a 23-room, two storey mansion whole first week of June starting with the
pop-rock artist paying a tribute to this im- in 13.8 acres of ground at 3764, South Bel- 6th, 7th and 8th, will involve Elvis themed
mortalized star you can’t help but want levue Boulevard in the Memphis suburb events at the NCPA, one of them are the
to be a part of the action. Add a dash of Whitehaven. Today Graceland is the most 3 film screenings at the Little Theatre within
the best performance location in Mum- famous address in modern music history. the NCPA.
bai, couple it up with some fine American The famous music gates of Graceland
cuisine, rocking music and you can’t ex- were installed in April of that year. It was The 6th will screen the 1957 hit film, Jail-
pect anything less than a glorious evening open to the public only after Elvis’s death, house Rock which showcases Elvis’s leg-
of fun and endless entertainment. That’s and an estimated 1 million people still visit endary portrayal of Vince Everett a pris-
whats in store this 11th of June , 2011 at it yearly. oner who turns his life over to become a
the Tata Theatre, NCPA where we superstar. On the 7th the renowned film
have live in concert Gary Lawyer This was just the beginning of an icon that ‘This is Elvis’ will be premiered in the Little
performing a Tribute to the exceeded mortality. The vast expanse of Theatre. In this biography concert movie
‘King of Rock and Roll- Elvis his musical works from rock, blues, and rare behind the scenes footage will be
Aaron Presely!’ pop to gospel tunes captured the hearts shown covering the life and story of this
and minds of millions. Elvis created waves great icon. The highlights will further in-
Theres not much that with his first single Heartbreak Hotel in the clude Elvis’ first TV appearance in 1956,
can be written about El- year 1956, and later that same year also scenes from his most popular movies,
vis that people are not made his film debut in the English film, “Love Me Tender” and “Loving You”, plus
already aware of, his fan Love me Tender. Some of his greatest hits concert scenes from his 1968 show, That’s
following is unmatched even included Jailhouse rock, Let me be your the way it is, Aloha from Hawaii, and from
today. In his 42 years (January 8, Teddy Bear, Hound Dog, and Are you his last filmed show in 1977 as well.
1935 – August 16, 1977) he man- Lonesome Tonight, among many others.
aged to create glorious musical It becomes difficult to attempt to ape this Fans get to see him perform live with all
and fashion trends and completely great artist, and only a humble effort can the essential hits – from the early rock n
changed the face of American and be made, many artists over the years have roll tracks (Hound Dog, Don’t Be Cruel) to
world music. Born in Mississippi, Presley paid their tribute through performances to the soulful ballads (Love Me Tender, Can’t
moved to Memphis, Tennessee, with his this icon one such artist is Mumbai’s very Help Falling in Love) right down to his per-
family at the young age of 13. He began own Gary Lawyer. sonal favorites (Heartbreak Hotel and Blue
his career there in 1954 when Sam Phillips, Suede Shows). Finally on the 8th will be a
(the then owner of a company called Sun When asked, ‘why Elvis?’ Gary replies documentary screening of ‘ Elvis by the
Records) was eager to bring the sound of quite promptly ‘there can be no other; Presleys’ where for the first time his wife
African American music to a wider audi- he was the most influential entertainer of Priscilla and daughter Lisa Marie offer an
ence and saw in Presley a way to fulfill his mankind’ Going on he adds, ‘His music intimate look at Elvis’s life.
vision. There was no limit to the sponta- exceeds genres and having performed
niety and moves of this creative genius, twice in Pune to the similar theme, he Over the years artists have shaped differ-
outrageous dress codes, long side-locks, knows the fan following in Mumbai will love ent aspects of civilization and vice versa,
puffed up tresses ( his secret was a combi- to hear his tunes’ With the expanse and but few have managed to transcend gen-
nation of Vaseline and rosewater) and an over powered support for Bollywood within erations with their popularity and talent.
ever so handsome face the Indian media, Gary feels the need to The magic of stardom and a fan following
could easily give create a space for Western Music across is addictive and limitless. The Elvis fan club
any Hollywood genres is a must. With the finest indoor set started online, is one such example of this
icon a run for up for performances at the NCPA (Nation- and is run in India by 107.1 FM, RJ and a
his money, al Centre for Performing Arts), an Indian die-hard Elvis fan, Fali Singara who gathers
add to it artist along with many international ones information from across India, connects
a voice can create high quality live performances with fans and gives a thorough account of
that to enthrall audiences. Elvis’s life, films, songs and memorabilia.
could
This initiative is part of a new property cre- Of all the performers across generations
ated at the NCPA called, ‘NCPA Legends’ inspired by Elvis and those bowed down to
where recent artists will perform tributes to his talent , attitude and music one quote
great musical legends. The first one in its sums it up as aptly as it could: Before Elvis
series is the Elvis tribute and may be fol- there was nothing! – John Lennon
lowed by tribute performances of Frank
Sinatra, Michael Jackson, Mohammed The NCPA Legends – A Tribute to
Rafi among many others in the years to The King of Rock and Roll concert
come. This initiative by the creative de- by Gary Lawyer is on June 11. For
partment at the NCPA has commenced more information see page 22 of the
to expose and reignite the fan following Programme Guide.
12
On Stage June 2011
On Stage Explores
F
rom the rakkodi on the crown of her vals. It was also worn by the resident tem- finish. Jewellery is very important for a
head, to the nupura adorning her ple dancers, a tradition which is continued dancer. The belt enhances the waistline
feet, the classical dancer is literally to the stage, today. Traditional jewellery and the nose ring makes the dancer look
bejewelled from head to toe. Jewellery is was made of pure gold and embedded very feminine and beautiful. I have a few
an essential part of the dance costume. with uncut diamonds, rubies, emeralds pieces of temple jewellery which are my
It adds sparkle to a dancer’s appearance and pearls. Today replicas are made in sil- favourites: I have a long necklace made of
and enhances the visual effect and aes- ver, then coated in gold leaf and embed- gold and diamonds with mango shapes.
thetic appeal of her dance, invoking rasa ded with semi-precious stones. Many traditional pieces are inspired by na-
in the observer. ture. Also, during my initial dance perfor-
“I find that the quality and craftsmanship mances, I would wear my mother’s gold
South Indian temple jewellery has a very of temple jewellery has declined over the belt. This piece is very special for me and I
long tradition dating back over 5,000 years,” reveals actress and dancer Hema still have it and cherish it.”
years. It was traditionally made for temple Malini. “Of course, real jewellery is too ex-
idols by master craftsmen who worked pensive to wear, so dancers wear artificial Temple jewellery not only adorns and em-
within the precincts of these temples. jewellery. But after a few shows, it loses its bellishes a dancer; it is also believed to
Nagercoil, a temple town in Tamil Nadu, shine and charm. For my dance ballets have a deeper significance. Pure gold is
is famous for its jewellery, that is used to I get special jewellery made. It’s artificial believed to promote well-being. The surya
adorn the deities during important festi- but very beautifully done, with an antique worn on the right side of the head and the
chandra on the left, are believed to impart bengapatia was first introduced. A bro- men, there are over 38 for women, includ-
a positive energy to the dancer, allowing ken and discoloured bengapatia was ing six for the hair and head, eight for the
her art to flourish. The rokkodi worn on the found in an old box of jewellery belong- ear, six for the neck, at least two garlands
crown of the head protects the brain. ing to the mother of a Brahmin from Puri. of jewels and pearls for the breast, eight
Guru Kelucharan Mohapatra painstak- for the hands and fingers, five for the hips,
For leading Bharatanatyam dancer Rama ingly rethreaded the belt and meticulously and three for the ankles and feet!
Vaidyanathan, the sheer resplendence of cleaned it with tamarind. It was first worn
South Indian temple jewellery is a good by legendary dancer Sanjukta Panigrahi at Bedecked and bejewelled in this way, it
reason not to wear too much of it. “I love the All-India Dance Seminar held in Hyder- is difficult to imagine how a dancer can
temple jewellery because its vibrant co- abad in 1963. Now it has become a hall- attempt even the simplest dance move-
lours are very striking. It’s the ideal jewellery mark of the Odissi costume. ment! However, after this detailed descrip-
to wear with Kanchivaram saris because it tion, the ancient text does concede that
matches so well. But because it’s so strik- The use of costume and jewellery is called too much jewellery can restrict movement
ing, I don’t want to clutter myself. The less I aharya abhinaya, one of the four types of and defeat its very purpose: “Too many or-
wear, the more it stands out.” Rama gives abhinaya described in the Natya Shastra, naments are not to be used lest the artists
much thought and importance to her jew- Bharata Muni’s classical treatise on the per- feel tired or hindered in free movements.
ellery: “I choose my jewellery to match the forming arts. It mentions the different types Weighed down with heavy ornaments one
costume I’m wearing, but also according of jewellery or ornaments to be worn by a cannot move much and one is likely to
to the theme of the performance,” she feel exhausted.”
explains. “For example, one of my recent
productions, Akhilam Madhuram, is based It is no surprise that many dancers prefer
on Krishna and the symbolism of Mathura a minimal use of jewellery. Real jewellery
and Vrindavan, and explores the theme of made of pure gold and precious stones is
bhakti. I used Rudraksha beads, which are heavy and cumbersome – and exceed-
significant for their healing powers, and ingly expensive. “I don’t wear any jewel-
matched it with a Tanjore pendant. I like lery when I’m performing contemporary
old, traditional pieces and I often come dance,” explains renowned danseuse and
up with my own designs. My inspiration choreographer, Aditi Mangaldas. “But I
comes from temple sculptures, old Tanjore like to wear jewellery when I’m doing tra-
paintings and Ravi Varma paintings.” ditional Kathak. Traditional Kathak jewellery
is made of gold, uncut diamonds, emer-
In contrast to the opulent temple jewellery alds and rubies. Most of the jewellery I use
of South India, the silver jewellery used by is Jadau jewellery which I find in Ahmed-
Odissi dancers is elegantly understated. abad, Hyderabad and Lucknow. When I
Cuttack in the state of Orissa is famous for wear a beautiful piece of jewellery, it gives
its silver filigree work. Oriya tribal jewellery me a sense of grandeur, even if it’s just a
is also made of silver. “Odissi jewellery has small piece.”
a distinct style,” explains celebrated Odissi Page 10 & 11: Hema Malini displays
dancer Sujata Mohapatra. “It adds beauty jewellery worn for her traditional and ballet “I think jewellery adds embellishment to
and elegance to the dance. The tahia Bharata Natyam performances a dancer: the tikka frames the face and
(crown) is unique to this dance style and bangles bring attention to the wrists be-
resembles a temple spire. The bengapa- cause we use a lot of mudras and wrist
tia (silver belt) is also unique to Odissi. The
maharis, who had danced in the temples,
The surya worn on the movements. I like to keep the look minimal
but classy. I don’t like heavy, overbearing
had worn many necklaces around the right side of the head jewellery. For me, jewellery has to be as
neck and several chains around the waist. light as possible but it also has to look real. I
The leading gurus had come together and and the chandra on wear only a tikka, earrings and slightly thick
decided on the aesthetics of the Odissi
costume and jewellery. It should not be
the left, are believed bangles on each wrist. I don’t wear long
necklaces anymore. I don’t like wearing
too heavy. The beauty of the body has to to impart a positive rings or anything on my feet.”
be seen.”
energy to the dancer, For practical and aesthetic reasons, there
Inspiration for the Odissi costume came
from temple sculptures, as well as the Ab-
allowing her art to seems to be a trend among dancers to-
wards reducing the ‘covered from head-
hinaya Chandrika, written in the 15th cen- flourish. to-toe’ look to one of minimal elegance
tury by Maheswara Mohapatra. This text which responds to the dictat that less
mentions the costume, ornaments and is certainly more. Dancers agree that
make-up to be used for Odissi and de- dancer, which “if used properly and with jewellery should embellish the dancer
scribes a silver belt to be worn around the understanding, add beauty to the body.” but not hamper the dance. After all, as
waist. In her biography of Guru Kelucharan It then illustrates in detail the specific or- Bharata Muni cautions in the Natya
Mohapatra, The Making of a Guru, Odissi naments to be worn by male and female Shastra: “Decoration not done properly is
dancer Ileana Citaristi recounts when the performers. While these number to 16 for no decoration at all.”
14
On Stage June 2011
On Stage Global
World
Views
Israel Opera Festival
June 1 – 9
A look at this most poker faced ones around, as Jarred
Christmas, Milton Jones, and Mitch Benn,
The base of the Masada Mountain, near month’s most exciting among others, all take the stage. If that
the Dead Sea, transforms into an epic weren’t enough, visitors even have the op-
stage for glorious theatrical productions by peforming arts tion of registering for the Open Mic Night
the Israeli Opera this June, for the yearly
Israeli Opera Festival. This year, the Israeli
events from around on June 6, giving them a maximum of
eight minutes to perform on stage.
Opera will join hands with Italy’s Arena di the world
Verona Orchestra as they take the stage Saskatchewan Children’s Festival
at Sultan’s Pool in Jerusalem, to perform June 5 – 8
Verdi’s famous Messa da Requiem. Thou- Since 1988, the Saskatchewan Children’s
sands of visitors, both local and interna- Festival has been attracting thousands of
tional, will get the opportunity to witness visitors as it aims at involving children in ar-
acclaimed Italian tenor Andrea Bocelli tistic and creative endeavours, expanding
performing. The Israel Symphony Orches- their horizons and promoting the perform-
tra Rishon LeZion will also be presenting ing arts. For this year’s edition, puppetry
a rendition of Aida with the Israeli Opera, has been singled out as the primary per-
and other highlights include the Jerusalem forming art, so the festival will showcase
Symphony Orchestra accompanying the this art form in full vigour as performers
Opera for Verdi’s Jerusalem. from across the world – including Australia,
Mexico, West Africa, and the US – will take
Auckland Festival of Photography the stage to enthrall kids and adults alike.
June 3 – 26 Also featured, aside from puppetry, are
The trauma and suffering experienced by theatre performances, dance, storytelling,
New Zealand over the past year serves as circus acts, as well as music.
inspiration for this year’s Auckland Festival
of Photography, as the artists and man- Glastonbury Festival of
agement look to channelise the misery Contemporary Performing Arts
towards a positive outcome through art. June 24 – 26
Themes interpreted by the artists include This June will see thousands of hippies and
Culture, Identity, Participation, and Art. music lovers flock to Glastonbury for the
Displays include works by international annual Glastonbury festival, one of the
photographers as well as established and most distinguished and easily recognised
emerging artists from New Zealand for a music festivals in the world. This year’s edi-
collection of exquisite images from across tion is set to feature hundreds of prominent
the world. Highlights for this year include artistes from across the world, playing on
works of the upcoming photographer Ro- several different stages. The headliners for
berta Thornley, which will be displayed for the three days are U2, Coldplay and Be-
the first time at the festival, having been yonce respectively. While close to 200,000
commissioned by the management itself. unkempt fans let loose in vast open fields
could well be a recipe for an environmen-
Guernsey Festival of Comedy tal disaster, the Glastonbury management
June 3 – 11 remains keen on organising a ‘green’ fes-
A few laughs will always go a long way in tival with several provisions available, such
cheering up the most miserable state of as solar panels, green tractors and the
mind. And what better way to wish your presence of the Green Police. In fact, last
woes away than nine days of incessant, year, half of all waste generated at the fes-
roll-on-the-floor comedy? The Guernsey Israel Opera Festival, Glastonbury tival was recycled, and the management
Festival returns in its fifth year, with a line-up Festival, Saskatchewan Children’s Festival, is aiming at increasing the number to 60
promising to knock the socks off even the Auckland Festival of Photography per cent this year.
15
On Stage June 2011
Programme guide
Adhe Adhure
Hindi play (120 mins) icons) so gripping, is that one is
Experimental Theatre never sure whether he admires
Wednesday, 1st to Sunday, 5th her rage to get a grip on her life,
– 7.30 pm or whether he suggests that she
is a woman caught in her own
An Artistic Exclusive Event destiny and circumstances in the
manner of a tragic Greek heroine.
A tragic comedy about mar-
Starring: Rajendra Gupta, Lillete
riage, this brilliant classic that broke
Dubey, Ira Dubey, Rajeev Sid-
the bounds of Hindi theatre in the
dhartha and Anuschka Sawhney
‘60s, remains an incisive portrayal,
even today, of contemporary so- Original music by Gandhaar
ciety and a middle class family on Sangoram
the brink of collapse. Sets designed by Bhola Sharma
Lights designed by Pradeep
Savitri, a middle-aged woman, is Vaidya
dissatisfied with her circumstanc-
es – an unemployed son, an un- A Primetime Theatre Co.
settled newly married daughter, a Production
rebellious teenager, and above
all, a husband who has failed to themes of incompleteness at the indi- Tickets (on weekdays): `300, 250 &
provide her emotional and financial vidual and social level with humour and 200/-
security. She seeks to fulfill herself in re- uncanny insight. Tickets (on weekends): `400, 300 &
lationships outside marriage, only to re- 200/-
alise that men are the same beneath What makes Mohan Rakesh’s portrait of Box Office: May 26 for Members and May
different faces. The play explores the Savitri (one of Hindi theatre’s first feminist 29 for the Public
BOX OFFICE
Tel: +91 (0)22 2282 4567, 6654 8135, 6622 3724
Dance
Exhibitions – Art, Photography
Film Screenings
Indian Music
National Centre for the Performing Arts, N.C.P.A. Marg, Nariman Point,
Theatre
Mumbai 400 021. Tel: +91 (0)22 6622 3737
Presentations & Discussions
www.ncpamumbai.com www.soimumbai.in International Music
16
On Stage June 2011
Karl Jenkins – Passacaglia from Palladio Dag Wiren-- Serenade for Strings
Op 11
Edward Elgar – Salut D’Amour
Tickets: `1000, 800 & 600/-
Henryk Wieniawski – Valse caprice (piano)
Box Office: May 14 for SOI Members,
David Popper – Requiem for three cellos May 17 for NCPA Members and May 20
and piano for the Public.
Rainsong
Hindustani music recital
Janhavi Phansalkar (Vocal)
Kaushik Mukherjee (Sarod)
NCPA Umang Series
Little Theatre
Friday, 3rd – 6.30 pm
Janhavi Phansalkar trained under Dr. Kaushik Mukherjee has trained under Dilip Both artistes will include in their presenta-
Usha Parkhi and Veena Sahasrabuddhe, Patra and Tejendra Narayan Majumdar. tion, a special repertoire to welcome the
both of whom rank among the most dis- He has won the National Scholarship for much-awaited rains.
tinguished and talented artistes of India. Outstanding Artists and has also per-
She has many public performances and formed at a number of prestigious music Admission on a first-come-first-served basis
awards to her credit. festivals. (NCPA members will get preferential seating)
17
On Stage June 2011
Through the four characters, Apples and Tickets: `200/- (for Members)
Walnuts encapsulates the state of af- `225/- (for the Public)
fairs in Kashmir and how it has changed Box Office: May 26 for Members and
their lives. It ends on a positive note with May 29 for the Public
Korat
Gujarati play (135 mins) now awaits death just like his father rule rather than the exception, the mis-
Dance Theatre Godrej did and watches the gallows’ structure use of euthanasia is very likely, since we
Sunday, 5th – 7.00 pm through the hopeless window. have a large number of illiterate popu-
lace and rampant unethical medical
An Artistic Exclusive Event So how do we exactly define a murder? practitioners. But can this helplessness
It can’t just be the act of taking another and corruption of our existence deny us
Korat, that’s the way he pronounced individual’s life. There should be certain a life devoid of pain?
the word "court". His inability for the cor- peculiarities of the act that deems it a
rect pronunciation for the law house murder. Euthanasia can never be com- The play is a hope to have the above
matched his scepticism for what was pared with a murder. No one wants to questions echo in the huge rooms
going on there…in the court! suffer, no one wants to feel pain and of ‘Korat’.
misery, and no one wants to see their
What the law labels as a brutal murder, loved ones suffering. On the contrary, we Written by Dr. Shankar Sesh
for him was just a rational way to end dedicate our lives just to be away from Gujarati Adaptation by Paresh Vora
an individual’s agony. He had killed his it, all of our efforts are directed only to Directed by Pritesh Sodha
father, rather a patient of carcinoma of relieve ourselves of any sort of pain and Produced by Kamlesh Mota
lungs in his last stage pleading for death end the suffering of our loved ones. Cast: Pratik Gandhi, Mihir Trivedi and
every day. His poor house awaited the Paresh Vora
uninvited guest by the name of death, The arguers will want one to consider the
which was already on its way. mental makeup of our country, and will A Utopia Communications Production
quote that acceptance of euthanasia
Poverty and the label of being an anti- for people who are tired of life, will further Tickets: `225/- (for Members)
social element from the society is what put a social and domestic pressure on
he got with the grief of his family for the those who feel themselves to be a bur- `250/- (for the Public)
so called murder of his father. Locked den to others, and to ask for euthanasia. Box Office: May 26 for Members and
behind those rigid iron bars of law, he In India, where abuse of the law is the May 29 for the Public
events
18
On Stage June 2011
at a glance
Day Date Time Programme Theatre
Adhe Adhure
Wed. to Sun. 1st to 5th 7.30 pm
Hindi Play
Rainsong
Fri. 3rd 6.30 pm
Hindustani music recital
Korat
Sun. 5th 7.00 pm
Gujarati play
Tree’ppreciation!
Sun. to Tue. 5th to 14th 12.00 pm to 8.00 pm
Photo exhibition by Sham Manchekar
Nilesh Singha
Fri. 10th 6.30 pm
Bharata Natyam recital
Chhandam - A Journey
Sat. 11th 7.00 pm
Kathak recital by Seema Mehta
Tumhari Amrita
Sun. 12th 7.00 pm
Hindi Play
June 2011
Dance
Exhibitions – Art, Photography
Film Screenings
Indian Music
Theatre
Presentations & Discussions
International Music
Devi
Thu. 16th 7.00 pm
Bharata Natyam recital by Priya Venkataraman
Khargosh
Fri 17th 6.30 pm
Hindi Film
Kalpana
Sat. 18th 6.30 pm
Short film screenings
Little Leaders
Sat. 18th 10.00 am to 2.00 pm Sea View Room
Children’s theatre workshop
Nad Ninad
Fri. 24th 6.30 pm
Guided Listening session on Shobha Gurtu
Past Forward
Sat. and Sun. 25th and 26th 7.00 pm
English plays
Pant on Fire
Wed. 29.6.2011 7.30 pm
Stand-up comedy
Vision of Forever
Thu. 30.6.2011 7.00 pm
Odissi recital by Ramli Ibrahim and troupe
20
On Stage June 2011
‘Tree’ppreciation!
Photo-exhibition by Sham Manchekar tree in India – located in the botanical
Piramal Art Gallery garden at Kolkata. These photographs are
Sunday, 5th to Tuesday, 14th -- 12.00 pm
not about scientific shooting, but rather
to 8.00 pm
the revelation of beauty. He appreciates
Tree’ppreciation, the forthcoming exhibi- the aesthetics of a tree through his lens.
tion of internationally renowned photog-
rapher Sham Manchekar, is a celebration The exhibition is not the first of its kind to
of the beauty of trees around us. The tree, be organised. Manchekar has many to
which is an integral part of our life, is often
his credit, such as Moss-scapes, Ladakhs-
neglected by mankind. Manchekar takes
capes, Land and Water and Auto-graphs.
us through different places and sights,
such as the branching of a coconut tree His love for the abstract is clear in his
on the Sindhudurg Fort, to the oldest ficus latest exhibition.
Rain Raga
Hindustani vocal music recital and especially her thumri renditions in
Subhra Guha the Poorab Ang.
Dance Theatre Godrej
Thursday, 9th – 6.30 pm The Benares Poorab Ang style she
follows is that of Siddheshwari Devi, Ra-
In collaboration with ITC-Sangeet soolan Bai, Badi Motibai and Girija Devi.
Research Academy (Western Region)
Her collection of rare thumris, dadras,
kajris and chaitis in pure Benares tradition
Subhra Guha is regarded as one of the
is impressive, as is her exhaustive collec-
finest female exponents of the Agra gha-
tion of rare ragas and compositions.
rana. Hailing from a music loving family,
she received her early training from the
A regular artiste on AIR and Doordarshan,
Late Satish Bhowmick and subsequently Guha has been performing regularly at
trained under Pandit Sunil Bose, a vet- prestigious events and festivals both in
eran of the Agra gharana. India and abroad.
Nilesh Singha
Bharata Natyam recital also been titled Nritya Shivali by the Shivali
Horizon Series Cultural Society of India.
Little Theatre
Friday, 10th – 6.30 pm He is the recipient of the SRI Saurabha
award for his outstanding contribution in
In collaboration with the Indian Council the field of art and culture. He has present-
for Cultural Relations ed several duets as well as group perfor-
mances at festivals like Natyanjali, Maha
Nilesh Singha, an accomplished Bharata Shivaratri Mahotsav, Shri Durga Parmesh-
Natyam dancer from Mumbai, has been wari music and dance festival at Kateel,
currently undergoing advance training in Mangalore. He has also produced several
dance and also studying the intricacies of dance ballets like KrishnaLeela, Dashava-
Nattuvangam under Padmini Radhakrish- is also the recipient of the Vishnu Digam- taram, Ramayanam, etc.
nan. He has been awarded the National bar Paluskar award, for the best dancer
Cultural Scholarship by the Government of by Sharda Sangeet Vidyalaya. He is an Admission on a first-come-first-served basis
India in the field of Bharata Natyam and empanelled artiste of the I.C.C.R. He has (NCPA members will get preferential seating)
In collaboration with the Bombay So- With his varied musical influences and
ciety for the Prevention of Cruelty to classically trained voice, Gary began
Animals (BSPCA) and supported by Tata his singing career in New York in the 80's,
Sons Limited and is now one of India's finest musi-
cians.
Gary Lawyer needs no introduction.
Tickets: `1000, 750 & 550/-
Often called the ‘man with the golden
voice’, he is regarded as the finest In- Box office: May 26 for Members and May
dian artiste in the field of Western popu- 29 for the Public
Chhandam – A Journey
Kathak recital she continues her training, she has also dancer will be singing a rhythmic cycle of
Seema Mehta opened a Chhandam branch in Mumbai. seven beats; taal roopak, and perform-
NCPA Umang series ing various tihaais and chhands with her
Little Theatre Programme: feet. In this traditional Kathak solo, Mehta
Saturday, 11th – 7.00 pm Seema Mehta is intrigued with the phi- will share her journey as a kathaka and
losophy behind Sanatana Dharma. She her experience in developing the four ele-
Supported by the Narotam Sekhsaria shares, through her dance, the idea that ments; tayaari, layakaari, khoobsoorti and
Foundation beauty is not found in destinations, but it
nazakat.
lies in the journey itself. In Kathak, the jour-
A student of Chitresh Das of the Chhan- ney of playing with rhythm is eternal. Her
dam School of Kathak, Seema Mehta has guru, Chitresh Das’ unique innovation of Admission on a first-come-first-served basis
trained intensively for eleven years. While Kathak yoga will be featured, where the (NCPA members will get preferential seating)
Tumhari Amrita
Hindi play (90 mins) Written by Javed Siddiqui
Tata Theatre Directed by Feroz Khan
Sunday, 12th – 7.00 pm Cast: Shabana Azmi and
Farooque Shaikh
Inspired by A. R. Gurney’s English play, Love
A Platform Production
Letters, Tumhari Amrita is a funny, poignant,
melancholic chronicle of two people
would not come together and could not FOR ADULTS ONLY
stay apart.
Tickets: `750, 570, 375, 300, 240 &
Theatre veterans Shabana Azmi and Fa-
rooque Shaikh read the love letters written 150/- (for Members)
by their characters to each other, over a `1,000, 760, 500, 320 & 200/-
span of 35 years. The two thespians man- (for the Public)
age, with consummate ease, to convey
friendship, love and heartbreak with mere Box Office: May 26 for Members and
inflections of voice, tone and expression. May 29 for the Public
Devi
Bharata Natyam performance her contribution to the field of dance.
Priya Venkataraman For her upcoming performance, Devi,
Experimental Theatre Venkataraman has specially choreo-
Thursday, 16th – 7.00 pm graphed selected verses from the
Ananda Lahiri by Adishankara, which is
Priya Venkataraman, currently training in praise of Shakti, the consort of Shiva.
with A. Lakshman and Bragha Bassell She will commence the evening’s recital
of Chennai, has intensively trained in with an invocatory item followed by a
Bharata Natyam from the age of five
Swarajati which is the central piece of
and has been performing for the last two
her performance. Selected verses from
decades. While based in Illinois, she trav-
the Kumarasambhavam by Kalidasa to
elled all over the United States and per-
highlight the Shiva and Shakti elements,
formed and was also actively engaged
are also part of her repertoire this eve-
in teaching students and training them in
ning. The performance will conclude with
the Bharata Natyam Margam repertoire.
a thillana composed by Karaikudi Krish-
Now settled in Delhi, she continues to namurthy in raga Nalinakanti.
perform, choreograph, teach and takes
time out to travel to Chennai for her own Tickets: `180 & 90/- (for Members)
training. She has performed at many `200 & 100/- (for the Public)
prestigious venues all over the world and Box Office: May 26 for Members and May
has won several coveted accolades for 29 for the Public
24
On Stage June 2011
This play is based in an acting class Tickets (on weekdays): `225, 180 & 150/-
conducted by Mr William. The students (for Members)
come from different religious, caste `250, 200 & 150/- (for the Public)
and class backgrounds and have con- Tickets (on weekends): `270, 225 & 200/-
flicting views on almost everything. (for Members)
Through these “actors”, the play hopes to Original Script Written by Meherzad Patel `300, 250 & 200/- (for the Public)
depict the pitiful situation of how we still Directed by Meherzad Patel Box Office: June 9 for Members and June 12
don't know how to co-exist peacefully. Cast: Sajeel Parakh, Danesh Irani, Me- for the Public
Frankenstein
Theatre Broadcast (120 mins) mines to track down his creator and strike Directed by Danny Boyle
Dance Theatre Godrej a terrifying deal. Cast: Benedict Cumberbatch, Jonny
Friday, 17th and Saturday, 18th Lee Miller and others
– 7.00 pm Urgent concerns of scientific responsibil-
Sunday, 19th – 4.00 and 7.00 pm Suitable only for 15 years and above
ity, parental neglect, cognitive develop-
ment and the nature of good and evil Tickets: `300/-
For the first time in India, National
are embedded within this thrilling and Box Office: June 9 for Members and June
Theatre Live will broadcast the perfor-
mance of the production Frankenstein deeply disturbing classic Gothic tale. 12 for the Public
at the NCPA. Written by Nick Dear and
based on Mary Shelley’s Frankenstein,
the play is directed by Oscar-winner
Danny Boyle (127 Hours, Slumdog Mil-
lionaire) and is a visionary new produc-
tion, with actors Benedict Cumberbatch
and Jonny Lee Miller alternating the
roles of Victor Frankenstein and the
grotesque being he creates.
Khargosh
Hindi film - Fresh Pix Series An NCPA Presentation this new routine is for Avneesh to catch a
(Col – 90 mins – 2009) glimpse of a girl, he is dismayed. Bantu
Little Theatre This film screening is a part of the NCPA plays cupid for Avneesh and Mrityu but
Friday, 17th – 6.30 pm Fresh Pix Series, started to create an soon tires of the candy that Mrityu rewards
audience for regional and indie cinema him with. Something strange is afoot; he
that does not reach the lay audience, begins to frequent the forest trying to out-
outside of film festivals. wit an unforeseen pursuer.
In a listless town, ten-year-old Bantu goes Directed by Paresh Kamdar
through the routine of cajoling his friend, Cast: Arhan Wilson, Gauri, Sumit
Avneesh to fly a kite with him. Instead, Sharma, Garima Shrivastav and
Avneesh takes him to the bazaar where Chittaranjan Giri
they sit day after day. While Bantu savours
ice candy, Avneesh restlessly awaits his Admission on a first-come-first-served basis
‘mrityu’ (death). When Bantu realises that (NCPA members will get preferential seating)
25
On Stage June 2011
Kalpana
Short film screening (120 mins) to provide exposure to short and small screen little-known movies to a wider audi-
Little Theatre budget filmmakers. ence and initiate constructive discussions.
Saturday, 18th – 6.30 pm
Everyone is invited irrespective of whether
Many of us might have dreamt of making
In collaboration with Friends of Cinema a movie that would force the world stand you are a filmmaker or not. All you require
up and take notice. Few of us went one is a zest for cinema.
Friends of Cinema (FoC) is a network of step ahead and made it but due to sev-
people who like and love short and small eral constraints could not show it to an au-
budget cinema. Kalpana, the brain- dience. Kalpana, is for these filmmakers.
Admission on a first-come-first-served basis
child of Friends of Cinema is a venture The objective of the group is simple – to (NCPA Members will get preferential seating)
Little Leaders
Children’s theatre workshop leaders. Drawing on examples from fa- Children from 6-12 years of age are eligible for
Sea View Room mous personalities like Gautam Buddha, participation.
Saturday, 18th – 10.00 am to 2.00 pm Kabir, the Dalai Lama, Mother Teresa,
Registration Fees: `2,500/- per child
Mahatma Gandhi, Dr Ambedkar, Nelson
As existing structures of leadership come Mandela, Rabindranath Tagore, William (inclusive of lunch and materials)
tumbling down around the world, and new Shakespeare, Helen Keller, Joan of Arc Entry on Registration. Please contact Shivani
systems are set up in their place, the world and Anne Frank among others, the work- Tibrewala on 98201 27247 / 93202 91157
is redefining what it needs, wants and ex- shop will introduce children to the chal-
Or e mail: info@nolicenseyet.com. For
pects in a leader. This workshop seeks to lenges of being leaders in all contexts,
imbibe lasting leadership values in chil- through a series of role-play and various online registrations, log onto http://www.
dren that will mould them into tomorrow’s theatre games. nolicenseyet.com
Miss Beautiful
Hindi Play (135 mins) Directed by Makrand Deshpande
Experimental Theatre
Saturday, 25th - 7.00 pm, Cast: Nagesh Bhosle, Divya Jagdale,
Sunday, 26th - 6.30 pm Makrand Deshpande, Ahlam Khan, San-
jay Dadhich, Ananda Karak and Vineet
An ailing mother and father ask their son Sharma.
to find himself a beautiful girl. The son,
wanting his parents to die peacefully,
brings home Miss Beautiful. An Ansh Theatre Production
With a theme that centres on ideas of fam- Tickets: `270, 225 & 200/- (for Members)
ily, loyalty and identity, this play promises `300, 250 & 200/- (for the Public)
to be a charming and thought-provoking Box Office: June 9 for Members and June 12
experience. for the Public
Past Forward
Two plays in English
Dance Theatre Godrej
Saturday, 25th and Sunday, 26th
– 7.00 p.m.
Scarborough Fair
English Play (50 mins)
Roulette
A young man has to choose between English Play (60 mins)
his two first loves – his girl and his writ-
ing. Helping him make the choices are An Indian adaptation of Douglas Hill's
his constant companions – the three supernatural comedy, Roulette is the
voices in his head. Set to the music of bizarre story of a young couple who are
Simon and Garfunkel, this play explores stuck in a never-ending road trip from
the coming of age of a confused young Tuscon to Vegas.
man as he discovers inspiration, happi-
ness and meaning in life. Adapted and directed by Spandan
Mishra
Cast: Spandan Mishra and Sohini Das
Written and directed by Yudhisthir
Agrawal Last Minute Productions
Cast: Yudhisthir Agrawal, Rahul Prakash,
Rashi Mal, Preeti Vangani, Ashtiaq Dal- Tickets: `150/- (for Members)
ton and Biswamitra Ray `200/- (for the Public)
Box Office: June 9 for Members and June
INTERVAL 12 for the Public
28
On Stage June 2011
Pant on Fire
Stand-up comedy in English (105 mins) Pant on Fire, which mixes stand-up com- Written and directed by Sorabh Pant and
Dance Theatre Godrej edy with one of a kind characters like Kunal Rao
Wednesday, 29th – 7.30 pm Pantjot Singh Sidhu and Sorabh Pun. The Starring: Sorabh Pant and Kunal Rao
show invites you to watch as Pant goes
An Artistic Exclusive Event through the challenges of being an Indian Tickets: `250/- (for Members)
Obama, why women need batteries and `300/- (for the Public)
Stand-up comedian Sorabh Pant has how he would die happy if he could just Box Office: June 9 for Members and June 12
travelled across the country with his show burn his girlfriend’s large purse. for the Public
Vision of Forever
Odissi recital The performance exemplifies the works
Ramli Ibrahim and Sutra Dance Theatre of the late Odissi pioneer Deba Prasad
Tata Theatre Das. It unleashes powerful images from
Thursday, 30th – 7.00 pm the Shaivite and Tantric traditions, bring-
ing out the terrifying beauty associated
In collaboration with VIDYA with the repertoire of Ramli’s late guru.
The work focuses on the spiritual awak-
NCPA in collaboration with VIDYA pres- enings of an acolyte who eventually en-
ents a spectacular evening to light up counters the vision of glory of the univer-
the lives of many. In a show of both sal spirit through dance.
warmth and fervour, watch Malaysia-
based Odissi exponent Ramli Ibrahim In Vision of Forever, Ibrahim has chosen
perform his breathtaking production Vi- an Odissi repertoire from three major gu-
sion of Forever, to raise funds for the edu- rus of this tradition: Durga Charan Ran-
cation and empowerment of less privi- bir, Gajendra Kumar Panda and Deba point of Vision of Forever will be the Ar-
leged children across the country. Prasad Das. dhanariswara performed by Ramli and
Rathimalar.
26 years ago, VIDYA was created on a Most of the works were commissioned by
verandah at IIT Delhi with six children Sutra over the past 25 years and will fea- Tickets: `1,000, 800, 600 and 400/-
from the nearby slums. Since then, it has ture Sutra’s principal dancers: Rathima- Box Office: June 9 for Members and June
transformed the lives of over 2,00,000 lar, Geethika Sree, Nishah Devi, Michelle 12 for the Public.
families through its programmes. Chang, Thrisherna and Guna. The focal All proceeds will go to VIDYA.
29
On Stage June 2011
Glimpses
of April and May 2011
April 11 and 12: The Kodaly Quartet giving a western music recital at the
Experimental Theatre.
April 12: Anupam Kher performed his autobiographical one-act play April 22: Pandit Jasraj enthralled the audience during his Haveli Sangit
Kuch bhi Ho Sakta Hai at the Tata Theatre NCPA. performance at the Tata Theatre.
NCPA Photo/ Narendra Dangiya
April 17: Classic Milds revisited famous English playwrights, at the May 2: Young participants at the NCPA Summer Fiesta dance work-
Experimental Theatre. shop at the West Room, Jamshed Bhabha Theatre.
30
On Stage June 2011
July 2011
highlights
NCPA Tata Capital Bandish: Festival of Legendary Composers
Festival of Indian Music
Tata Theatre
Thursday, 7th to Saturday, 9th – 7.00 pm
Arrivals
• Natya-mitra
By Dr. V.B.Deshpande
Pune, Continental Prakashan, 2010
• Ganucha Sadra
By Dr. Shriram Lagu
• Char Ekankika
• Marvels of sculptured sound: • Live Vocal Concert: Pt. Yashwantbuva By Vasantrao Acharekar Pratishthan
Jaijaiwanti & Shudh Kedara Joshi: Ragas: Shivmat Bhairav, Bibhas, Kankavali, Pandit Pub. 2008
Dum Dum, Komal Rishabh Aasavari, Shuddha
Gramophone Company Sarang, Gavati
• Natarang
of India, 1980 Mumbai, Meera Music
By Manoj Kolhatkar
• Himalayachi Sawli (Marathi play) • Vocal: Pt. Balasaheb Poonchwale Kankavali, Pandit Pub. 2003
Mumbai, Rudra Entertainment Pvt. Ltd. Ragas: Devranjani, Kalingada,
Shankara Bhairavi • Kalagi-Tura
• Surya Pahilela Manus (Marathi play) Mumbai, Meera Music By Dr. Dhondiram Wadkar
Mumbai, Rudra Entertainment Pvt. Ltd.
Pune, Padmagandha Prakashan,
• Vocal: Tappa: Pt. Balasaheb
2010
• Samarpan: Tribute to Jaipur- Poonchwale Ragas: Khamaj
Atrauli Gharana (5 Tappas), Jhinjhoti, Kafi (3 Tappas),
Mumbai, Wamani, 2007 Sindhu Kafi, Bhairavi (4 Tappas) • Natak: Swarup Va Sameeksha
By D. B. Kulkarni
• Chit Anand: Pt. Chidanand Nagarkar • Vocal: Shruti Sadolikar Katkar Ragas: Pune, Padmagandha Prakashan,
Ragas: Todi, Miyan Malhar, Kafi, Marwa, Jayant Malhar, Shudh Nat 2010
Thumri, Bhairavi- Bhajan and Tarana Mumbai, Meera Music
Mumbai, Meera Music
• Flute: Pt. Devendra Murdeshwar • Vedh Marathi Natya Sangeetacha
• Chit Anand: Pt. Chidanand Nagarkar Raga: Puriya Kalyan, Jhinjhoti, Pilu By Jayram Potdar
Ragas: Bhairav, Bairagi, Ramkali Thumri Pune, Diamond Pub. 2010
Mumbai, Meera Music Mumbai, Meera Music,
• Sarjanshil Shataki Pravas
(The listed books and CDs are available at the NCPA Library.
By Leni Rifenshtal
For membership details call 66223715)
Thane, Param Mitra Pub., 2010
• Awara Masiha
By Vishnu Prabhakar
Delhi, Rajpal & Sons, 2010
32
On Stage June 2011
NCPA News
Letters to Editor
Your feedback is important to us, please feel free to write in with your comments on On Stage and events at the NCPA to me,
Lily Shroff at lilyshroff.ncpa@gmail.com. Alternatively, if you’d like to advertise with us, you may email me at the same address
or contact me on 66223827. We look forward to your views to make this magazine more enjoyable and helpful.
Membership queries
We sincerely hope that you avail and enjoy all your benefits as an NCPA member and be assured that we will work towards
providing you with the best facilities. We would be happy to assist you in case you require clarifications. To get in touch, please
contact us at – membership@ncpamumbai.com ( e-mail) or 022–66223719 (tel)
33
On Stage May 2011
Life Membership:
Life Membership will be converted from the current ‘life term’ to a period of 25 years. This will be effective for fresh applicants from
May 15, 2011 onwards. Kindly note, members who are already registered with the NCPA as Life Members, continue to enjoy the
same benefits and the ‘life term’.
Individual 5000
Couple 8000
Handicapped 500
Individual 2500
Couple 4000
Handicapped 250
You may call us on 66223719 or email us at membership@ncpamumbai.com if you need any further clarifications.
Way to NCPA
We are at the southernmost tip of Marine Drive, adjacent to Hotel Oberoi.
The NCPA is easily accessible by bus or taxi. Share-a-taxi rides are available
from C.S.T. and Churchgate stations to Nariman Point, next to NCPA.
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