A dramatic change occurred when advertising whiz Mohammad Ali Baig decided to switch careers and return to theatre. The Qadir Ali Baig Theatre Foundation, which he began in 2005 as a tribute to his father Qadir Ali Baig, was meant to revive quality theatre in Hyderabad. Given his family’s theatrical background — his father is legendary in Hyderabad’s theatre circles and his brother’s avant-garde theatre is also well known — it is no surprise that he too is hailed as a ‘New Age Theatre Revivalist’.
Producer-director-actor-playwright Baig was groomed by his father. His own productions include some of south India’s biggest original musical productions in Hindustani: Taramati: The Legend of an Artist , His Exalted Highness , Reading Between the Lines , Raat Phoolon Ki , Resham Ki Dor , Pankhdiyaan , Aaina , Dada Saheb Phalke , Quli: Dilon ka Shahzaada and Savaan-e-Hayat .
“What makes these masterpieces of Indian theatre is their scripts,” says Baig. “I want plays written by us, which can boast of diversity and richness, are meaningful grand and spectacular, to be projected globally.” His theatre revival movement has helped revitalise, stimulate, and enlighten the theatre scene in Hyderabad and aroused unprecedented interest in the city’s culture and heritage. And thus came the genre he is best known for: Heritage Theatre.
Research and planning are the main ingredients of each play, says Baig. “When we say research, it’s not just the script we work on. From costumes, jewellery, art, motifs, language to décor… it’s a long process.” The interpersonal relationships too have to be well sketched because that is an important ingredient. The end result should be something that the audience will take back. And that is what the Baig Theatre Foundation ensures.
“As a scriptwriter and director, my job involves working closely with every department. I make sure I become one of them to understand the working that needs to be flawless and seamless on stage. Be it light, sound, dance, art, design or pre-production, I like to be hands-on,” he adds. Like any other medium, feedback plays an important role and it helps them perform better each time.
“It’s all about bringing history to life. My concepts have been designed and created in a way that enhances the splendour of the heritage monuments.” These period productions are epic in scale, with multiple performing areas, elaborate sets, grand costumes, chorus dancers in live song-and-dance sequences, African drummers, a huge cast and backstage ensemble, and even live horses and camels on stage. The diverse facets of Indian history serve as an inspiration for content. “The idea is to educate, entertain and inspire audiences so that they remain connected with their rich heritage through the story, the ambient venue, the sets, dialogue, and costumes,” he adds.
Today, as these ancient venues act as backdrops to the majestic stories that unfold on stage, they gain popularity. Monuments such as Taramati Baradari, Qutub Shahi Tombs, Falaknuma Palace and Chowmahalla Palace are now frequented by visitors thanks to the plays.
His contribution to theatre is immense but he puts that down to his upbringing. “The value system that I hail from gives great importance to etiquette, tehzeeb and dignity, something I follow as decorum in theatre. My theatre is all about prestige and fineries of life... a celebration of life itself.”
