One on One
August 15, 7.15 p.m.
Venue: Sir Mutha Venkatasubba Rao Concert Hall
Rage's ‘One on One' is an ambitious venture, showcasing eight monologues/duologues, shaped by six experienced writers and directors of Mumbai. This ensures variety in themes, emotional colours, as well as treatment.
Rage's commitment to and joy in generating new writing is obvious when Rahul da Cunha, its co-founder with Shernaz Patel and Rajit Kapur, describes ‘One on One' as “a theatrical evening with different Indian playwriting voices under one roof… a sort of Woodstock of creative outpourings by some of our best writers, on issues affecting/amusing/aggravating/angering them.”
Rajit Kapur explains that new writing about present-day India in Hindi and English was commissioned and sent to different directors. “As and when they responded strongly to specific pieces, we asked them to come on board. An initial reading with everyone in attendance began the process of stringing the texts.”
That was when, “at a content level, we got to hear the thoughts of all the prospective directors,” director Akarsh Khurana recalls animatedly. “Though everyone's path crossed during rehearsals, each had ample freedom and space. Finally, we were encouraged to view each other's work. Valuable feedback emerged here, in terms of integrating each part to the whole.” Interactions increased with Rajit Kapur and Akarsh Khurana turning actors as well, and Nadir Khan managing sound for the whole production.
From an outright spoof on the bureaucrat babu to the macabre joke of terrorist Ajmal Kasab's trial, the issues raised are far ranging and provocative. The humour can be tongue-in-cheek or rib-tickling. Listen to the irate passenger complaining to the authorities about inedible airline food. The sombre note? Watch characters struggling to find their way through the modern macropolis maze. Yes, ‘One on One' delights and disturbs.
DIRECTORS' CUT - ARGHYA LAHIRI, KUNAAL ROY KAPUR AND NADIR KHAN
What unifying thread keeps the work together despite such diversity in texts and directors?
Arghya Lahiri: It's not a stand-on-soapbox, wave-your-arms-about demonstration yelling about the good or the bad in this country. It's about the good and the bad. Nor is it necessarily about India in the didactic sense.
But, each monologue is rooted, ultimately, in one part of the mosaic that makes this country. To wit, “we are like this only”.
The range of issues widened the viewpoints in dealing with what it means to be in this country — here, now.
I think it was an interesting choice to not attempt to homogenise the experience. The diversity then becomes the unifying thread. All of it simply takes place on the same stage.
Any pleasing, intriguing or surprising response?
Kunaal Roy Kapur: People seem to be entertained by the end of the evening, and amazed that we managed to get so many talented actors together.
The most challenging moment when the work was in progress?
Nadir Khan: Trying to find an objective voice for the character in ‘Load-Shedding'! I wanted to let audiences draw their own conclusions (for the most part) by presenting the facts interestingly rather than load them with my own opinions.
Hopefully, that way, it will provoke individual thought rather than convey a generic message.
With ‘Dear Richard', the adaptation proved tricky. I opted for the simplest and least changed draft of the lot. Finally, finding the right style of presentation for what is basically a letter with visual aids took a fair amount of work.
