Mohammad Ali Baig switches gears from epic to intimate with the autobiographical Under An Oak Tree . “While the vision remains epic, the execution is intimate this time to make it 'portable' and travel-friendly,” says Baig. “Both are equally important for engaging storytelling. I recreate stories at large forts and palaces which have their own bewitchment. Intimate spaces like NCPA, Edinburgh and ballrooms of luxury hotels have their own charm. Venue forms an integral part of my productions and story, so does décor. The Ballroom at ITC Windsor, with its colonial allure is ideal for Under an Oak Tree .”
The hour-long play, written by Baig’s wife, Noor, tells of the protagonist’s journey from a palace to the glitzy world of advertising and theatre. Noor also plays the protagonist’s mother. Talking of the name of the play, Baig says, “In all my plays, divinity and philosophy are underlying elements, whether it is Quli: Dilon ka Shahzaada, Savaan-e-Hayaat, Spaces, 1857: Turrebaz Khan or this one. The title is a metaphor. The oak tree is symbolic of the protagonist’s father. Can an acorn grow under it? There is a line in the play, ‘Even when the oak tree was gone, its presence remains, sometimes casting the warmth and shade and sometimes the darkness and despair of a shadow.” Audiences in London connected instantaneously. And that’s something I relish; the premise of my plays is Indian heritage but the appeal is global.”
The play premiered in London. “I love performing there,” Baig said. “London has a feel like Paris and Istanbul. The warmth of the audience is always motivating, and they love discussing the play after the performance. The premiere was sold out a week before and we were getting requests on Facebook and emails from London to accommodate them at the show. People from Oxford and Edinburgh came all the way to watch the play too.”
The play is autobiographical and since Baig spent considerable time in Bengaluru, the city has a starring role. “Bangalore has been my second home for almost a decade. I have cherished memories, valued friends and mentors here. Bangalore gave me the impetus to discover my professional self and worth, away from the cocoon and celebrity of Hyderabad. It was here that I came of age from being a legendary father’s son, a revered grandfather’s grandson to a professional worth his salt. Its balmy weather provided a balm in more ways than one.”
The original set Baig comments, “has a provision for real rain but is a deterrent indoors. The set is divided into two by the oak tree—with a swish pad on one side and a chamber with period décor, antique furniture, silverware and sepia-toned frames on the other. Aesthetics form an integral part of my approach to theatre, I have designed everything from the Persian rugs to zardozi cushion covers.”
Admitting to enjoying turning unusual and unconventional venues into performing spaces, Baig says, “Golconda Fort in Hyderabad, spreading across five kms, provided me a 200 foot backdrop. That was breath-taking for the audiences. The Edinburgh spaces with its upbeat feel and NCPA Experimental in Mumbai with its thrust are interesting as well.”
Under an Oak Tree will be performed on April 21 at 7.30 pm at ITC Windsor, Bengaluru.
