T here are two ways to look at the theatre scene in Hyderabad. One is to feel disappointed that the stage is still not on a par with Mumbai or Bengaluru. The other is to be inspired at the way it is taking one confident step at a time and creating a new set for itself. Amateur and established theatre groups and personalities are experimenting, creating new artistes through workshops and are also taking their productions out of auditoriums into a public space to make them more accessible to a larger audience. Although it is a positive sign that play will reach out to different kinds of audiences, there is some concern over the crowds and their interest in theatre.
In the summer of 2016, Goa’s Hauns Sangeet Natya Mandal staged their play Is God a Taoist at three locations which included Lamakaan, SLN Terminus and Gallery Cafe (which also doubled up as a theatre space for Sutradhar’s Biryani aur Haleem .)A few months ago, Rammohan Holagundi of Nishumbita travelled with his group to Jangaon to perform a play on women empowerment in an open space.
The team regularly goes to playgrounds or a park in the morning for rehearsals. Mohd Ali Baig and his team travel to Golconda fort every month to narrate the royal story Quli: Dilon ka Shahzaada .
“There is a big constraint about space in Hyderabad,” observes Rammohan. While the group has plans to perform at Phoenix Arena in 2017, he cautions that artistes should maintain composure. “The actors need to be a lot more dedicated. Since the distance between artistes and the crowd is not much in a mall or eatery, it is very easy to get excited and swayed by the applause. The crowd might comprise of just passers-by and not theatre enthusiasts,” he shares.
Members of Hauns Sangeet Natya Mandal performing ‘Is God a Taoist’
Mohd Ali Baig recalls how in the ’70s, his father Qadir Ali Baig staged Quli Qutub Shah at the precincts of Rani Mahal at the Golconda Fort. “Our home productions by NTH Repertory were staged at hotel banquet halls, university terraces and intimate studios,” he says and adds, “I wouldn’t call Golconda fort an ‘alternative space’. For my productions which are deep-rooted in Hyderabadi history and heritage, the venue aids my storytelling.” Recalling the experience, he states, “It’s a different thrill when as a director, you envision, block and light up a 60-feet stage where your set is a 200-metre high backdrop and as an actor, you are performing to an audience of 1200 to 1500, commanding the movement of their eyeballs for an entire duration of the spectacle and holding them in your stead.”
Laukik Desai of The Lord Chamberlain’s Men which had organised Is God a Taoist argues that more efforts are needed for theatre to break the shackles of conventional spaces. He recalls how the experience of staging the play at three venues was a mixed bag. “The crowd at three venues was completely different. It was obvious that the audience was not regular theatre-buffs at the mall,” he states.
Different setting Staging of ‘Quli: Dilon ka Shahzaada’ at Golconda fort; Nishumbita theatre group performs in the open; Hauns Sangeet Natya Mandal performs in a mall
He also gives the example of Hauns Sangeet Natya Mandal and the Goan group’s travel across Maharashtra this December to perform ‘theatre in a box.’ “The audience is small and includes only 40 members. We need to look for such avenues and create an impact.” He calls for more alternative spaces for rehearsals. “Space crunch is a huge issue. Schools and temples can give out their space for theatre groups to perform or even rehearse,” he adds. Mohd Ali Baig shares how ‘space for theatre’ is not an issue in Hyderabad alone. “Even in the theatre-advanced cities, theatre practitioners battle for the “right” space. Every space that came up in cities got redundant in a few years time, either technology-wise or architecturally. The wisdom lies in adapting whatever is available.”
Another remarkable feature has been the rise of ‘students’ in different theatre workshops. It is heartwarming to see youngsters, professionals and school students wanting to be part of this growing theatre movement. While working in small spaces, creating new avenues, experimenting with big ideas and drawing in young talent, theatre hopes to carry its message far and wide across the city in the coming year too.
