‘Savaan-e-Hayat’ gives an insight into the life and times of queen Hayat Bakshi Begum, who played an important role in the history of Golconda, albeit silently

Qadir Ali Baig Theatre Foundation, as a sequel to its earlier production Quli - Dilon Ka Shahzaada, presented an autobiographical narration of queen Hayat Bakshi Begum, daughter of Quli Qutub Shah of Golconda. Titled Savaan-e-Hayat, the play was performed at the ramparts of the historical Golconda Fort. The half hour delay and a swarm of mosquitoes notwithstanding, the ambience created for the play and the colourful presentation won over the audience.

Written by Noor and Mohammad Ali Baig, backed by a Urdu translation by Kadir Zaman, the play depicted the life of the queen right from her childhood till the time she dies. The queen was a de-facto empress of the Golconda Dynasty and was successful in thwarting the invasion of the Mughal emperor Aurangzeb without a war in the 17th century. She was known for her wisdom and handling of affairs of the kingdom.

Rashmi Seth, the veteran stage artiste of Hyderabad portrayed her role as the queen Hayat Bakshi Begum, with the dignity and composure the character needed. The narration of her life in with flashback scenes showed the different aspects of the character at each age. Rashmi was elegance personified while portraying the role of the queen.

Mohammad Ali Baig, in three roles as Quli Qutub Shah, Mohammed Qutub Shah and young Abdullah Qutub Shah gave a composed performance. The change of characters and costumes were done with ease.

Laira Mayor as baby Hayat Bakshi was impressive in her small role. Noor as the young Hayat was elegant and performed well.

S.A. Majeed as Shah Mohammed and Vijay Prasad as Mughal emissary played their roles with ease.

Mala Bariara, a ghazal singer in a guest role as a singer, came onto the stage to sing and dance Raja Rangeela banna re for young Hayat on her wedding day along with Kavya the other dancer. The song had been specially composed by her for the play. P.S.Vishal was the other dancer in the play.

The simple settings against the majestic backdrop of the Golconda fort transported the the audience back into the region’s rich history.

Costumes by Sumita Tiwari and Ravita Mayor showcased the Qutub Shahi era and were pleasing to the eye.

The choreography for the dances done by Pavan Kumar singh and P.S.Vishal went out of rhythm to the song sung and music played in a few places and the dance moves repetitive.

Barring these minor flaws the play was well presented and depicted. Mohammed Shrees on dholak and Sunil Rao on harmonium supported the music and dance sequences.

The imaginative lighting effects by Chandrasekhar suited the ambience of the venue. Sets by Vasudeva Rao assisted by backstage support by Anuj Gupta, Laxman, Tajjudin and Koti, too were simple and apt for the show. Sound management was by Pavan Kumar Singh and the play was conceived, designed and directed by Mohammad Ali Baig and produced by Begum Razia Baig.