Talking to Feroz Abbas Khan gives you hope. A promise that darkness cannot drive out darkness, only light can. After a hugely successful run of “Mughal-e-Azam”, the master theatre practitioner has adapted yet another tragic tale of love. This time he has found inspiration in Shakespeare’s “Romeo and Juliet”. Called “Raunaq & Jassi”, after a couple of preview shows in Mumbai, the musical will have its Delhi première in February end. Starring Neha Sargam, Omkar Patil, Mahendra Singh and Sonal Jha in lead roles, the play has been adapted by noted playwright Iqbal Raj.
Over the years, the master theatre practitioner has given us many socially relevant plays such as “Tumhari Amrita”, “Saalgirah”, “Agent Ramlal” and “Gandhi Virrudh Gandhi”. When he turned to a Broadway-like musical “Mughal-e Azam” in 2016, one wondered whether we had lost one more artist to the market forces. But belying most reservations, Khan managed to keep a socially conscious heart throbbing beneath the grand sets and Manish Malhotra-designed costumes.
Here again, in times of Romeo squads, he promises to see the Bard’s tale with Jassi’s point of view. “This is a conscious effort because this century belongs to women. Traditionally, only men have had the choice to choose and reject. The onus of nurturing a relationship always fell on women. Of course, there is parity when it comes to passion and negotiation but Jassi is not chained by the so-called maryada and demands choice in love,” says Khan.
Edited excerpts:
You seem to have found a formula for reinventing the classics!
I do not have a formula nor do I desire one. I have many questions and I am trying to find answers to them in stories that have endured time and transcended space. A familiar classic is a huge excitement and challenge, which drove me to “Mughal-e-Azam” and now “Romeo and Juliet”.
Why have you set it in Punjab? Is there a personal association or the fact that it is the land of many tragic love stories that made it a fertile ground for exploring a classic…
Yes, .the land of Punjab resonates with so many love stories and you can smell the earth, hear the sounds of poetry and music and intimately relate to the lovers... I suppose the popular culture has bombarded us with these stories so often that you now have a familiar relationship with them.
Tell us about your association with Shakespeare in general and “Romeo and Juliet” in particular. What is in it that keeps it fresh for adaptation?
My favourite works of Shakespeare are “King Lear” and “Coriolanus” among many others. Initially, it was very difficult to relate because of the language, which is also its most beautiful part. We didn’t study Shakespeare in school so I first approached it as stories, then read in simple English and then delved into it savouring the language and beautiful dramatic construction. It was a reluctant journey that ended up as a transformation.
On the surface, every other Hindi film looks like ‘Romeo and Juliet’ in various shapes, sizes, and tastes. However, as you delve deeper, you realise that it is so layered and a masterpiece unmatched by anything the world has experienced. I found Juliet’s voice very powerful and nuanced and as a result, "Raunaq & Jassi" is seen through Jassi’s eyes.
How have you approached the classic?
This is neither a translation or a faithful adaptation, it is a re-imagined piece written in verse which is original and addresses the contemporary concerns of the society. Iqbal Raj has written a play that will find its place amongst the rare treasures of theatre writing in India. We are not revisiting a classic for a museum trip, “Raunaq & Jassi” is about the times we live in with a strong indictment of hatred and celebration of Love.
A lot is being said about the lyrical dialogues of the play. Was Chetan Anand’s Heer Ranjha an inspiration?
Since the play is in verse, “Heer Ranjha” will be the obvious reference, which was beautifully written by Kaifi Azmi. Iqbal Raj has given us a very fresh and new language in theatre that is elegant, layered, meaningful, dramatic and economical.
For instance, “Rab ko bhi mana lenge, do dil milkar unhe jeene ki dua denge” or “Mohabbat Ki Maange Garib Hoti Hain...Dil Todne Ki Bhi Tehzeeb Hoti Hai” .
Tell us about the form and set, is there a contemporary ring to it? We have heard of a romantic balcony!
The style of the production is impressionistic, like the paintings of Monet and Van Gogh. It has a simple but evocative set and the balcony is right there in the middle and becomes the central motif. It is a witness to all that is happening in and around.
In times of anti-Romeo squads, what is the role of Jassi?
These squads cannot deter nor defeat Jassi. She is today’s woman who demands choice in love and is determined to exercise this freedom.
Tell us about the music and cast...Neha Sargam was the find of “Mughal-e-Azam”
The music is the authentic and traditional, from the Punjab of the ‘50s, that is sung live. Neha is a special talent with deep sensitivity and rare truth. She was my first choice for Jassi and she owns the part.
What is the fundamental difference between directing a musical and a play like "Tumhari Amrita" or "Agent Ramlal"? Did you have to learn/ unlearn certain things while making this shift?
“Tumhari Amrita” is a very minimal production that defies all theatre conventions with two people just sitting and reading letters and the audience is mesmerised by the language, performance, truth, purity, and simplicity of this theatre experience.
“Salesman Ramlal” is my favourite work and it affected me deeply. Satish Kaushik performance will be etched in our memory. Arthur Miller’s original classic “Death of a Salesman” is a seminal piece of theatre and we were very mindful of our responsibility to respect the original and yet appropriately adapt it for our times and place. It was driven by powerful performances and very minimum technical fuss,
However, a musical needs to have the scale and all the rasas . It is Natyashastra in action. The productions are big and it is life on stage, supersized!
In a politically volatile atmosphere, why have you turned your gaze on romantic musicals and love stories?
Theatre as agitprop has its limitations and gets called out. However, when it is camouflaged as a powerful love story and as a metaphor it affects the audience deeply. They are caught unaware despite their political or social leanings and humanity touches them. Engaging with the converted is not enough. Shakespeare for most of his life was disruptive. Theatre is the most effective and powerful when it doesn’t speak directly. In fact, in times of hatred, love stories must speak loud.
In times of OTT platforms, when it is becoming increasingly difficult to hold audience attention, “Mughal-e-Azam” broke many myths. What has been your experience?
I believe that the more digital we get, the more the audiences will crave to see live human beings and live performances. “Mughal-e -Azam” brings three generations to spend time together. It has brought communities together and every performance is the celebration of our syncretic culture on stage and in the audience.
The idea of a shared, syncretic past seems to be losing its shine in the present scenario?
I am an optimist and I believe that the idea of India still shines bright in the hearts and minds of the majority of its people. Yes, it is under attack and forces of hate are gathering traction with social media and compliant mainstream media as foot soldiers but eventually, their hollowness and phoney claims will be exposed. We are not just a nation but a great civilisation which is reflected in our constitution.
