The play “Manasi”, which was presented by Saanjhbaati at India Habitat Centre recently, is yet another avatar of George Bernard Shaw's celebrated play “Pygmalion” (1913). The characters in the new script are recognisable and the situations have contemporary Indian urban flavour with emphasis on the problems being faced by people in the show business. The earliest adaptation of this play is “Azar Ka Khwab” by legendary theatre personality Begum Qudsia Zaidi. This adaptation in chaste Urdu continues to fascinate theatre practitioners as well as discerning theatre lovers.
Among the memorable productions of the Urdu adaptation is one by Yatrik under the direction of T. P. Jain. In this production veteran theatre and film actress Salima Raza played the role of Eliza named as Hajjo (Amroodwali) which according to old-timers continues to be the ultimate portrayal of Lajjo, the Indian version of Eliza set in Indian milieu. Another milestone production of this Urdu adaptation is produced by Repertory Company of National School of Drama under the direction of Bhanu Bharti. The more recent version of “Pygmalion” is “Laagi Lagan” in Hindi written and directed by Prof. Waman Kendre, director of NSD. The latest version “Manasi” in Hindi has its own freshness to captivate the attention of the audience.
Written and directed by Suddho Banerjee, senior theatre artist, “Manasi” is noteworthy for dramatic energy, clarity and brilliant acting by lead performers. While conveying Shavian satirical attack on the snobbery of upper class society, who disdain marginalised people, Suddho has changed the character traits of a few Shavian characters. Prof. Higgins, a scientist of phonetics, is changed to Jackie Sen, a director of soap opera and film, who has failed to discover new female face for his forthcoming serial. In place of Colonel, a linguist, we meet Sanjay Gupta, the producer. Both the characters are bachelors, who are also depicted bachelors in the original. In “Manasi” there is a female character Sangini — who conducts rehearsals and assists the director to hone the craft of actors. In the original the father of Eliza is named as Alfred Doolittle, alcoholic and devoid of moral qualms.
Suddho Banerjee
In Suddho’s version the father is named as Raghu who is also incorrigibly alcoholic and lumpen. In most of the productions this character is given little space but Suddho gives it enough space to show his degeneracy and to provide light on the social background of Rammo. Towards the climax, Rammo goes to her father as a protest against upper class arrogance after the tense dramatic confrontation. The producer follows her and persuades her to join the director. In fact, this scene, where Rammo rejoins her father after emotional rupture with the director in the party, breaks the rhythm of action, weakening the impact of the production. The director should delete this sequence to make his production sharper and compact.
The production ends on a happy note with Rammo, the flower girl, emerging as Manasi, the centre of all eyes. In fact, different directors have changed the ending according to their own world vision. Director Waman Kendre gives a new twist to the climax of his production of “Laagi Lagan” in which Prof. Higgins and Eliza (Flower Girl) are in love but the class antagonism stands in the way of the lovers.
Grand style
In the production under review, the party scene is effectively composed with optimum use of the action space charged with heightened emotional conflict and excitement. After the selection of Rammo for the glamorous role of heroine in the serial, the people of high society celebrate the occasion in a grand style. Praises are showered on the director. Rammo named as Manasi stands alone in the party with a co-actor in a corner. Nobody is interested in talking to her, much less to congratulate her. The director and producer are basking in glory. It dawns on her that she is treated an object of bet for the director and producer and a commodity for experiment.
The pain of her repressed wounds of humiliation and torture, flares up. She shouts at the director and the high society assembled at the party and walks out from an inhuman society which is hypocritical.
The production is marked by brilliant performances by the cast. Shuddho Banerjee as Jackie Sen internalises the conflict of his character. His restrained artistry heightens the intensity of his dilemma. He creates a convincing portrait of a conceited, arrogant and autocratic artist who lives in the illusion that he is the ultimate director who can make and unmake the career of any actor. Over the years, Shuddho has performed a number of roles and his performance in the play under review is by far the best.
Enab Khizra as Rammo reveals with telling effect the crisis of her journey from a sexually abused slum-dweller girl who sells flowers to her torturous training culminating in the crowning victory. Imparting vitality and emotional power to her portrayal, she sustains these strong feelings throughout the show. Sagar Surinder is a senior actor of the Delhi stage who gives brilliant performance as the incorrigibly alcoholic and morally debased father of Rammo. Other noteworthy performances are given by Namanita as the helper of the director and Rajiv Verma as Sanjay Gupta, the producer of soap opera.
