Two aspects of the oeuvre of Purva Naresh make her a highly promising pioneer of the contemporary Indian theatre –– Hindustani music integrated with other theatrical elements and exploration of serious social issues. These two aspects are very much in evidence in her two highly acclaimed productions, “Aaj Rang Hai” and “Ladies Sangeet”. These productions are articulate, elegantly designed and complex that reflect multiple shades of human emotions that grip the attention of the discerning audience. In “Aaj Rang Hai” she brings alive Amir Khusrau’s music and poetry steeped in deep humanistic thought to highlight his relevance to provide balm to a society afflicted with communal violence. “Ladies Sangeet” is her latest offering.
A graduate of FTII, trained Kathak dancer and percussionist, Purva has conceptualised and directed “Ladies Sangeet” which was presented by Aarambh Mumbai at Kamani auditorium recently as part of Aadyam Theatre. On the surface it tends to be about women in their best traditional dress adorned with jewellery assembling on the occasion of the marriage of a daughter of family belonging to aristocracy with fascination for the grandeur of feudal era. But as the play unfolds multiple layers of gender issue, human sexuality and marriage as a social institution emerge. The polemics on these issues are bold, controversial and disturbing. Of course, music rendered by ladies in mellifluous voices stands out for classical charm but the director has treated it with restraint to make it one of the means to reinforce the philosophical kernel of the play.
The choreography adds rhythmic fluidity to the dramatic action being unfolded on the stage. The aesthetically designed colourful costumes capture the atmosphere of the wedding to be solemnised by high society that enriches the production visually.
Written by Niranjan Iyengar with music by Shubha Mudgal, here are various thematic strands. The focus is on the marriage of Radha with Siddharath. Both are in love. Traditional bridal dress is being tried on the bride. Far from being excited, deep down in her soul, she is sad, disturbed and disconcerted. Radha’s mother and her aunt are helping her get ready for the great event to make it memorable. Radha’s mother has her own troubled domestic life. Her husband is already separated from her. He is also present on this occasion. Both husband and wife are not on talking terms. The dark shadow of the bitter conjugal life of her parents is haunting Radha, making her sceptical about the rationale for the existence of the marriage institution, socially and legally. Here is another story about the marriage of a family scion with a bar dancer who is not invited to the marriage. However, she does participate in the lady sangeet and conducts rehearsal to train ladies of the family to dance.
We meet the grandmother of the bride. She is a strong lady who presides over the affairs of the house. A trained classical singer, she adheres to conventional values both as a singer and the grand old lady of the family. Radha's younger sister practices singing under the tutelage of her grandmother. She challenges the concept of eight types of Nayikas –– heroines and Abhisarikas yearning to meet lover. But the grandmother simply loves these concepts and sings in a soulful voice songs about Nayikas and Abhisarikas.
Box set designed by Yantra captures the grandeur of a haveli belonging to a feudal aristocratic family. On the downstage right musicians occupy their seats. On the downstage centre a raised platform is erected for grandmother and younger granddaughter. The space for the bride and her mother is allotted on the downstage left. On this very space the dramatically intense interaction between husband and wife is enacted. This arrangement makes viewing very effective. The centre stage is used by ladies to dance and sing. Juxtaposing action that takes place at different spaces tension is built up leading to a climax that is stunning.
Some of the scenes deserve special mention. Getting ready for the marriage ceremony, the bride asks her mother some searching questions about the sexuality of the middle aged women, referring the marriage institution as dysfunctional. She talks about the dilemma of her generation who face incompatibility with their husbands and go for a divorce. The mother is against divorce. However, the polemics need further elaboration. The dramatis personae do not talk about gender injustice, polygamy, patriarchy and inheritance. Bernard Shaw debunked marriage institution. In contrast, the erstwhile Soviet Union declared that “The woman has the right to the status of a wife and must claim it” and she is also free to divorce. Radha expresses her deep love for Siddharth but declines to marry. Siddharth agrees with her. How they will lead their love life in the future is not defined. Then the action shifts to the bitter confrontation between Megha, mother of the bride, and her husband Yash who confesses to be a gay.
The production is not all grim. There are various sequences which evoke light-hearted mood. The character of Hosadiya engaged to make arrangements for the marriage ceremony is a comic character who comments on ostentatious marriage of super rich.
The script needs pruning to make it cohesive and tight. The story about the marriage of the scion with a bar dancer tends be superficial which contributes little to reinforce central theme.
The scene between Megha, the mother of the bride and Yash, father of the bride is poignant. When the wife insists to meet the “other woman”, her husband breaks down. In an agonized voice he admits that there is no “other woman”. In fact he is living with a partner. The wife is shocked to know about the sexuality of her husband. Gradually, bitterness is gone. The climactic scene exudes emotional intensity. The popular song “Rasiya Ko Nar Banao” is rendered in voices that touches soul. The family members join in this rendition. The head of Yash and shoulders are covered with a colourful piece of cloth, reflecting family's compassion, understanding and acceptance of revelation by Yash about his sexuality.
Lovleen Mishra, once a darling of every home when she played the role of Chhutki in “Hum Log”and Joy Sengupta as Yash make their scene profoundly poignant. Only actors of high calibre and experience can create such memorable scene. Nivedita Bhargava as Dadi displays her quality of a fine singer and actress of emotional depth. In the scene where Dadi slaps Yash and then reconciles displays fine nuances of tender feelings of a mother with troubled heart. Gopal Datt as Hosadiya, comic actor, Shikha Talsania as Radha, the bride and Trisha Kale, the younger sister give convincing performances.
