ON Stage

August 2024
®

volume 14 • issue 1

“The SOI is a very fine orchestra.

I hope I can come back very soon to play again.
- Zubin Mehta, August 2023

The Maestro
Returns
Uttam Singh Closer Than Ever Kerala Kalamandalam
on curating the works of Shorter travel time enhances and its rich history of propagating
Naushad Ali & Madan Mohan accessibility to the NCPA from the state’s art forms
across Mumbai
Chairman’s Note
Z
ubin Mehta has once again demonstrated his love for the city
of his birth, starting with four concerts this month and plans for
more performances in the near future. The heartening aspect of
these concerts is the high opinion he has expressed of the orchestra,
and this has inspired our fine musicians, for which I am doubly proud.
Dr. Jamshed Bhabha, whose 110th birth anniversary we celebrate this
month with these concerts, would have been proud too, to see his own
centre’s orchestra conducted by the maestro.
We need to thank our patrons, Citi, HSBC and many others, for their
consistent support to Hindustani music at the NCPA. Bandish in August
and other festivals like Aadi Anant and the Promising Artistes Series, have
become familiar artistic partnerships in the NCPA’s annual calendar.
While we have already recognised the honour done to our colleagues
in the last issue, we are confident that the extraordinary steps we are
taking to enhance the prestige of the NCPA even further will satisfy our
members and the public alike.
It is necessary for our type of organisation to receive support from
our distinguished founders, and patrons such as yourselves. We do
hope that you will come forward in numbers to support the standard
of performances now attained, which you will appreciate is a large
expenditure when done without compromising quality.

Khushroo N. Suntook
From the Editor
T
heir friendship blossomed on a classroom
bench at the Campion School in the early
1940s. They then studied together at St.
Mary’s and later, were collegemates at St. Xavier’s.
One of them went on to have an illustrious career
as Director of various Tata companies before he
became Chairman, NCPA, the other set out on
a path to pursue a career in conducting, and
what he accomplished in the world of Western
classical music as an Indian artiste still has no
parallel. Separated by continents, music kept
them close and then, one gave the other one
more reason—a musical one—to keep returning
to his beloved Bombay. Mr. Khushroo N. Suntook
established the Symphony Orchestra of India in
2006 and in less than 20 years, the country’s only professional orchestra has traversed
a distance that belies its age. Last year, Maestro Zubin Mehta, who has performed with
international ensembles at the NCPA in the past, conducted an Indian orchestra for
the first time in his decades of being on the podium. He found the SOI’s sound to be
“beautiful, its playing controlled and disciplined.” And he promised to be back.
Exactly a year after Schubert’s Unfinished and Mahler’s Titan cast a spell at the
Jamshed Bhabha Theatre, the audience will be back at the
very venue, for two vastly different programmes across four
evenings, organised in collaboration with the Mehli Mehta Music
Foundation. The music is special. The first two concerts feature
delightful works by Johann Strauss II; his waltzes, polkas and
csárdás having been brought to life by Maestro Mehta during his
many appearances at the famed New Year Concerts at Vienna’s
Musikverein. The final two performances are a celebration of the
music of Richard Strauss, whom Maestro Mehta regards not only
a wonderful composer but also a fine, economical conductor whose manner with the
baton schooled his own use of just the wrist to conduct symphonies.
“A burnished energy and tone emanated from our orchestra, as if appreciating the
presence of the maestro,” observed Mr. Suntook last August, as he watched the SOI
come into its own. Some successes don’t come with a seal of validation; a maestro who
kept his word says it all.
When he founded the National Centre for the Performing Arts almost 55 years ago,
Dr. Jamshed Bhabha gave his word to artistes, audiences and supporters that the quality
of performances staged in its theatres would not be compromised. In the month of
his birth anniversary, a look at the programming across genres bears testimony to that
commitment. Bandish, the festival of compositions, presents an astounding variety of
Indian music forms. The August Dance Residency will welcome stalwarts of the formidable
Kerala Kalamandalam. The just announced line-up for the International Jazz Festival speaks
of the level of curation. The burgeoning presence of stand-up comedy in India is entwined
with the space the NCPA has offered to many of its stars before they came to be called so.
And in bringing this to you, we hope ON Stage fulfils its promise too.

Snigdha Hasan
 Contents
NCPA Chairman
Khushroo N. Suntook

Editorial Director
Radhakrishnan Nair

Consultant -
Chairman’s Office, NCPA
Albert Almeida

Editor
Snigdha Hasan 22
Consulting Editor
Vipasha Aloukik Pai

Editorial Co-ordinator
Hilda Darukhanawalla

Features Writer
Aishwarya Bodke

Consulting Art Director

P Vel Kumar

Associate Art Director

Hemali Limbachiya

Assistant Art Director

Nandkishor Sawant

Proofreader
Roshan Dastoor

Advertising
advertising@ncpamumbai.com; 66223835
Features
Production Manager
Mangesh Salvi
Senior Digital Manager
Jayesh V. Salvi
Cover credit
10
A True Meeting of Musical Minds
film industry. In this year’s edition of
Bandish, Uttam Singh lends his musical
sensibilities to curate a concert of works
Oded Antman Zubin Mehta and the Symphony Orchestra by the two maestros to be presented
Produced by of India present music by Richard Strauss. with a live orchestra and special
By Suddhaseel Sen arrangements.
By Vidhi Salla

Creativeland Publishing Pvt. Ltd.

75th Floor, A 7503, Lodha Allura,
14
A National Theatre for India 22
Pandurang Budhkar Marg, The Park Worli,
On Dr. Jamshed Bhabha’s 110th birth The Colours of Kerala
Mumbai - 400018
contact@mansworldindia.com anniversary, we bring you an article the Established almost a century ago,
founding father of the NCPA wrote in its the Kerala Kalamandalam has been a
Printer
Quarterly Journal in 1980, discussing the torchbearer for the preservation and
Ganesh Mudra
Gala No.18/105/106, D-8, reflection, hard work and scientific thought propagation of the vibrant performing
Bhumi World, Pimplas Village, Bhiwandi that went into building the magnificent arts of the state. This month, the August
Near Thane Nashik Highway, Tata Theatre. Dance Residency will see a performance,
Thane-421302 workshop and lecture-demonstration
Materials in ON Stage®cannot be reproduced
in part or whole without the written permission
of the publisher. Views and opinions expressed
18
Naushad Ali and Madan Mohan:
that will highlight the nuanced aesthetic
of Kathakali.
By V. Kaladharan & Sreevalsan Thiyyadi
in this magazine are not necessarily those of the Rebel Virtuosos

26
publisher. All rights reserved. One was the son of a munshi in Lucknow, the
NCPA Booking Office other, a soldier born in Baghdad. But what
6622 3724/2282 4567 unites Naushad Ali and Madan Mohan is their The NCPA International Jazz
www.ncpamumbai.com passion for music, which led them to rebel Festival 2024
against discouraging fathers and arrive in Introducing the impressive line-up for
ANPU MEDIA

Mumbai to fulfil their destinies in the Hindi this year’s edition.

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 50
The Printed Word
Every month, we introduce
a must-read book from the
NCPA Reference Library, which
has an extensive collection on
theoretical and practical aspects
of the performing and visual arts,
ranging from ethnomusicology
to architecture to folk traditions.
Here, Marcelino Fernandez visits
the onstage and backstage world
of Hamlet in the company of
British actor, writer and director
Steven Berkoff.

28 53 Kaleidoscope

28
Big Little Things
Mumbai, we speak to two with
roots in India.
By Narendra Kusnur
the Indian subcontinent from
the 1930s to the 1980s when
it was not only ubiquitous
Your window to the latest in the
performing arts across India and
the world.
The NCPA is now part of a global but created ‘transnational
book-exchange network with its
very own Little Free Library.
By Aishwarya Bodke
40
Addio, Celia Lobo
communities’ of listeners. In
this excerpt, Alonso traces
how Lord Mountbatten’s
54
Archives: The Sarangi Gains
Remembering the prima powerful military transmitter, Prominence

30
Celebrating Youth
donna of India’s operatic stage.
By Dr. Luis Dias
left behind in Ceylon, brought
the people of India, Pakistan
and Sri Lanka together
In a scholarly account,
musicologist, sarangi player and
academic Joep Bor discusses
The 14th edition of the Con Brio
Festival will present early works by
iconic classical composers.
41
For the Record
through popular music of
the day.
historical sources that describe
the rising popularity of the
sarangi in India in the 17th and
By Smit Shah Every month, Jimmy Bilimoria
delves into the musical 49 18th centuries.

31
Closer Than Ever
treasures of the NCPA’s Stuart-
Liff Collection. Here, he writes
about the short but brilliant
More Love, More
Information
As the acclaimed NCPA
56
Programme Guide
With new infrastructure projects, career of Spanish tenor production Love and A guide to all the events
the commute to South Mumbai Miguel Fleta. Information returns for a happening at the NCPA in August.
from western, central and eastern second run and also prepares
suburbs is becoming shorter,
bringing the NCPA closer to art
lovers across the city.
42
The Brittle Truth
to embark on a countrywide
tour, we bring you reactions
from theatregoers from
72
What’s Next
For emerging, mid-career its inaugural week at the What to expect in the following

32
In on the Joke
and even established ceramic
artists, the struggle to find a
footing in the art world is real.
Experimental Theatre. months.

As a relatively new industry, Indian By Ornella D’Souza Follow us on:

stand-up comedy is a force to

46
facebook.com/NCPAMumbai
reckon with. A conversation with
the insiders. @NCPAMumbai
By Aishwarya Bodke Book excerpt: The
Remarkable Reach of @NCPAMumbai

36
In the Running
Radio Ceylon
In Radio for the Millions:
Hindi-Urdu Broadcasting Across
youtube.com/user/TheNCPAMumbai1

Of the 32 singers who have recently Borders, Isabel Huacuja Alonso

made it to the quarterfinals examines the history of Hindi, We look forward to your feedback and suggestions. Please do drop us an
of Operalia 2024 to be held in Urdu and Hindustani radio in email at onstage@ncpamumbai.com.
COVER STORY

A True
Meeting OF
Musical
Minds Zubin Mehta and the Symphony Orchestra of
India present music by Richard Strauss.
By Suddhaseel Sen

Richard Strauss Zubin Mehta. Photo by Sooni Taraporevala

10 • August 2024 NCPA

 S
tarting in 1886 with the symphonic material after a disconcerting, suspenseful pause to
fantasy Aus Italien, Richard Strauss a similar moment in Liszt’s symphonic poem Tasso.
composed a series of programmatic What is interesting in any piece, however, are the new
orchestral works—Don Juan (1888-89), elements that a composer brings to a pre-existing
Tod und Verklärung (also 1888-89), musical language, thereby sowing the seeds of change.
Macbeth (1888-1891), Till Eulenspiegel In this regard, what is remarkable about this early tone
(1894-95), Also sprach Zarathustra poem is the intensity with which Strauss portrays Don
(1896), Don Quixote (1897), Ein Heldenleben (1897- Juan’s disquiet, his fluctuating moods, his mental state.
98), Symphonia Domestica (1902-03) and Eine These sections, which are contrasted with love music
Alpensinfonie (1911-15)—of which all but two are in of passionate intensity (as in the first love episode) and
the repertoire of every great professional symphony unforgettable tenderness (as in the second love episode
orchestra. These works, of which the majority were introduced by the oboe), give the tone poem a frisson
termed “tone poems” by Strauss, extended the that has thrilled audiences for more than a century.
range and scope of Franz Liszt’s symphonic poems, Indeed, Strauss would go on to portray such figures
and are, along with his operas, Strauss’s most lasting with great sympathy in works like Don Quixote and the
contributions to the active repertoire. Don Juan sealed operas Salome and Elektra.1
the 24-year-old Strauss’s international reputation and, In contrast to Don Juan, few works by Strauss are
along with Till Eulenspiegel and Also sprach Zarathustra, as replete with self-quotations as Ein Heldenleben [A
remains among the Hero’s Life]. There was an
most popular of his ostensible reason. Strauss
works. Ein Heldenleben, once declared, with
Symphonia Domestica Zubin Mehta, with his tongue in cheek, that he
and Eine Alpensinfonie composed his piece from
have had a more mixed famed ear for orchestral “a desperate need” since
critical
have
reception
never
but
dropped
sounds and his mastery “Beethoven’s Eroica is so
extremely unpopular with
out of the repertoire. over the operatic our conductors and hence
The first and the last of rarely performed.” In all
this series of orchestral repertoire, has always been likelihood Strauss was
pieces are inspired by a top-notch interpreter not being serious,2 but
places—Italy and the it is also undeniable that
Bavarian Alps. Don Juan, of Richard Strauss’s tone he was a megalomaniac
Till Eulenspiegel, Also
sprach Zarathustra and
poems, and it is a rare and wanted to leave
no doubt about who
Don Quixote take their privilege for audiences the hero was. Hence,
cue from literary works in the section from Ein
or figures from folklore,
in Mumbai to hear him Heldenleben titled ‘The
while Ein Heldenleben and conduct two of these with Hero’s Works of Peace’,
Symphonia Domestica are there are no less than 30
frankly autobiographical. India’s only professional quotations from Strauss’s
Evocative and dramatic symphony orchestra own tone poems, songs
in turns, the tone poems and the only opera he
cover a wide range of had composed till then
emotions. Zubin Mehta, (Guntram), starting with
with his famed ear for orchestral sounds and his the magnificent horn theme and the solo violin melody
mastery over the operatic repertoire, has always been from Don Juan—slightly but thrillingly reharmonised.
a top-notch interpreter of Strauss’s tone poems, and it Another point of continuity is offered by the use of the
is a rare privilege for audiences in Mumbai to hear him solo violin to represent a woman, this time the composer’s
conduct two of these with India’s only professional wife and soprano Pauline de Ahna, who was known to be
symphony orchestra. extremely temperamental (her incorrect assumption of
Despite their diverse sources of inspiration, Strauss’s an extramarital affair on Strauss’s part led the composer
tone poems are connected to each other not only to write his comic opera Intermezzo in 1924). The writer
through his trademark stylistic features but also by his and musicologist Romain Rolland wrote:
penchant for quotations of, and allusions to, both his I asked Strauss about the hero’s wife, who had
own music and those by others. Such direct references intrigued the audience so greatly—some found
are minimal in Don Juan, the earliest of the pieces to her a perverse woman, others a coquette, etc.
be featured in the two concerts of Strauss’s music He said: ‘Neither one nor the other. A little of all
at the NCPA, although the opening of the piece owes that. It’s my wife I wanted to show. She is very
something in terms of its musical language to the Act complex, very feminine, a little perverse, a little
ALAMY (STRAUSS)

III Prelude from Richard Wagner’s Lohengrin, the first coquettish, never like herself, at every minute
love episode (introduced by solo violin) to Wagner’s different from how she had been the moment
Tristan und Isolde and the recapitulation of the opening before.’3

NCPA August 2024 • 11

 Zubin Mehta conducted the Symphony Orchestra
of India for the first time in August 2023.

While the long and difficult violin solo in the earlier by the self-styled avant-gardists of the day. The first
part of the piece fully captures these various moods, performance was given by the great soprano Kirsten
the radiant closing section of the tone poem, in which Flagstad with the Philharmonia Orchestra conducted
the solo violin enters into a duet with a solo horn by Wilhelm Furtwängler, one of Mehta’s favourite
(representing the hero/Strauss himself), eloquently conductors. The London premiere at the Albert
expresses the love between them, Pauline’s difficult Hall on 22nd May 1950 had an Indian connection:
nature notwithstanding. Indeed, there is a whiff here it was sponsored by Jayachamarajendra Wadiyar,
of the tranquil slow movement of Beethoven’s Violin the Maharaja of Mysore, who also supported other
Concerto, a piece that Strauss greatly loved, and the Indian and foreign musicians, and helped Herbert
tone poem’s hero finally finds fulfilment not in the thrills von Karajan re-establish his post-war career by
of victory in war but in the love and companionship sponsoring recordings of some unusual French and
offered by his wife. As such, Ein Heldenleben, like Russian repertoire that the Maharaja was interested
Strauss’s other tone poems explicitly concerned with in. At the premiere, the songs were not sung in the
the heroic element—Also sprach Zarathustra and order in which they are now normally performed. In
Don Quixote—avoid ending on a note of triumphant the order that is now established, the last song, ‘Im
exaltation that characterises the most famous of Abendrot’ (‘In the Twilight’) ends with a quotation
Beethoven’s heroic orchestral works—the Emperor from the tone poem Tod und Verklärung (Death and
Concerto, and the Eroica and the Fifth Symphonies. Transfiguration), which sounds more touching in this
By the early 1900s, Strauss had moved into opera, new context. Maestro Mehta has conducted the Vier
producing some memorable roles for female voices, letzte Lieder before with acclaimed Bulgarian soprano
of which he had acquired a deep understanding Krassimira Stoyanova and the orchestra of the La
through Pauline, whose exquisite singing skills had Scala opera house, Milan, and one looks forward to
led one of Strauss’s most irascible critics, Eduard hearing them perform the piece once again, this time
Hanslick, to describe her as “his better and more with the SOI.
beautiful other half.”4 This profound understanding Although Mehta has recorded many of the tone
of the female voice and command over the orchestra poems several times, he has been more of a champion
came to good use in Strauss’s penultimate piece, of the once less-popular tone poems such as Don
the so-called Vier letzte Lieder [Four Last Songs], Quixote, Symphonia Domestica and Eine Alpensinfonie.
composed in 1948 but first performed posthumously To the best of my knowledge, Mehta recorded Don
in 1950. (The last of his compositions, the song Juan commercially only once, with the Los Angeles
‘Malven’, was discovered in 1982). Composed in an Philharmonic (a splendid version), while the Vier letzte
idiom that was ostensibly outdated, these orchestral Lieder seems to be a late addition to his repertoire.
songs have remained far more firmly in the repertoire These Mumbai performances should be, therefore,
than any of the cutting-edge work then produced of the greatest interest, since they feature Strauss’s

12 • August 2024 NCPA

 What is remarkable about this early tone poem is the intensity
with which Strauss portrays Don Juan’s disquiet, his fluctuating
moods, his mental state ... he would go on to portray such figures
with great sympathy in works like Don Quixote and the operas
Salome and Elektra

works that Mehta has not performed or recorded as

Soprano Krassimira Stoyanova will perform in the final
often as some others. To those who are curious to two concerts featuring the music of Richard Strauss
explore further, I warmly recommend the eight-CD set
devoted exclusively to Mehta’s recordings of Strauss
on Sony. This set includes a complete recording of
Salome with the Berlin Philharmonic and of orchestral
excerpts from Strauss’s operas, including a lively
rendition of the First Waltz Sequence from Der
Rosenkavalier, in which the spirit of Richard Strauss
meets that of the other great Strauss—Johann—of
whose music Mehta is equally a master interpreter.

An evening of music by Richard Strauss, conducted

by Zubin Mehta, will be presented on 24th and 25th
August at the Jamshed Bhabha Theatre. Mehta
will also conduct An evening of music by
Johann Strauss II on 17th and 18th August at the
Jamshed Bhabha Theatre.

Endnotes:
1. From 1885 onwards, Strauss’s mother, whom
he deeply loved, used to have periods of mental
suffering. See Michael Kennedy, Richard Strauss:
Man, Musician, Enigma (Cambridge University Press,
1999), 10.
2. In order to understand what the Eroica really
meant to him, one has to hear Strauss’s last
orchestral work, the deeply tragic Metamorphosen
(1945), which quotes from the Funeral March of
Beethoven’s greatest symphony.
3. Quoted in Normal del Mar, Richard Strauss: A
Critical Commentary on his Life and Works, vol. 1
(Faber, [1962] 2009), 171.
Soprano Chen Reiss will perform in the first
two concerts featuring music by Johann 4. Kennedy, op. cit., 89.
Strauss II. Photo by Paul March Mitchell

NCPA August 2024 • 13

REMEMBRANCE
do away with the customary reliance on artificial hear a whisper from the system even when he sat alone
amplification, and to enlist for this purpose the help in an empty auditorium with no sound from the stage: in
of the best available experts in theatre design and other words, he did not want the cool air to be “blown”
acoustics. It was fortunately possible to convince into the auditorium but just to drop down noiselessly.
the Ford Foundation, whose policy has been not to Secondly, Harris insisted on the following structural
give grants for buildings, that a contribution to the precautions:
National Centre, for the expertise of this kind not a) The Plant Room Block located in the basement has
available in India, would benefit the country as a been structurally isolated from the theatre building
whole. We are fortunate that, with the generous grant to prevent structure-borne vibration of equipment
of $200,000 from the Ford Foundation, the National being transmitted to the auditorium block.
Centre secured the consultancy services of Philip b) All conduits and other piped services crossing
Johnson, architect of the State Theatre of the Lincoln such isolation joints have been provided with
Center for the Performing Arts in New York, and Cyril specially detailed flexible connections.
M. Harris, Professor of Architecture and Electrical c) All toilet fittings have been “cushioned” from the
Engineering of Columbia University, who was the building structure through special rubber-based
Acoustic Consultant for the Kennedy Center for the mountings.
Performing Arts at Washington. These eminent men d) Similarly, all water pipes and drains supported
worked on this project on the basis of bare costs and from walls or slabs have been provided with flexible
without charging their usual professional fees because connections to prevent direct sound transmission.
of their admiration of the great cultural heritage of e) In the same way, all rainwater pipes in the
India and their respect for the aims and ideals of the auditorium area have been isolated from the
National Centre. They explained that, in general, the structure.
acoustic properties of the theatres and opera houses Thirdly, an extraordinary feature—perhaps, unique
of the 18th and 19th centuries were superior to those of in the world—of India’s National Theatre, is that the
modern times because the older auditoriums had a lot two terminal points of the building at each end of the
of surface decoration on their walls and balconies, with 100-yard-long main foyer are built on independent pile
chandeliers and other embellishments, which, though foundations right down to Bombay’s rock-base, totally
intended for visual beauty, served the important separated from the pile foundations which carry the
acoustic purpose of breaking heart of the auditorium. A visitor

A National
up the sound and distributing it entering the main foyer from
evenly over the whole auditorium, In the pre-inauguration either end will observe a two-inch
whereas the undecorated flat
trial performances, wide cut in the floor extending

Theatre for India

or curved surfaces of modern upwards on both walls and
architecture resulted in present- those seated in the cutting right across the ceiling,

rear-most rows could

day auditoriums having pockets looking like a slice made by a
of good sound and pockets of knife in a cake. This cut is filled
On Dr. Jamshed Bhabha’s 110th birth anniversary, we bring you an article
the founding father of the NCPA wrote in its Quarterly Journal in 1980,
inadequate or bad sound. hear with enjoyment with a soft mastic compound of
Accordingly, Johnson and a kind that will exclude water
discussing the reflection, hard work and scientific thought that went into Harris, while maintaining the the music and see with without transmitting vibrations
building the magnificent Tata Theatre. essential beauty of modern
architecture, achieved their
pleasure the subtle or sound. Thus, if a military tank
or a road roller were to move

T
he construction of a theatre designed The builders acoustic purpose by means of movements of dance along Marine Drive, or if the
specifically to fulfil the exacting acoustic and Indian music and Indian dance forms of all schools, specially designed elongated Municipal Corporation were to
visual requirements of India’s classical and Hindustani and Carnatic, northern, southern, eastern three-sided forms, which from their starting point at use road drills during the maintenance of the road
folk music, dance and drama was integral to and western, have been performed for centuries in the centre of the stage extend in concentric circles or the footpath, no vibration or sound would ever be
the concept, aims and ideals of the National Centre for courtyards, temples, palaces and relatively small over the entire ceiling and also along the walls of the transmitted to the inside of the auditorium. Not even
the Performing Arts. As may be well-known by now, halls and places. It is because Indian instruments and auditorium. These forms of high-density compressed the auditoriums of the multi-million dollar Lincoln
this public foundation was originally promoted by the voices are generally soft and delicate in character and plaster had to be prefabricated on the ground of Center for the Performing Arts have this unique feature
Sir Dorabji Tata Trust as a pioneering institution to play suitable for small audiences that the use of electronic increasing sizes determined by the auditorium’s shape, which India’s National Theatre possesses.
a major role in preserving for posterity and developing amplification has been accepted as a necessity for which is almost semi-circular and like a fan.
those great national arts which have survived for performances in modern theatres and auditoriums Bespoke design
centuries through oral traditions and master-pupil almost everywhere in the country. Even a great master Sound and silence In regard to the design of the auditorium, Johnson, who
links, the gurukul system, the guru-shishya parampara. like Ravi Shankar generally refuses to perform in a Another point Harris emphasised was the importance won yet another international award for architecture
The disappearance of the old sources of patronage theatre anywhere without a microphone in front of him. of excluding all extraneous noise or sound from the last year, made several visits to India. He saw and
MATTEO OMIED / ALAMY STOCK PHOTO

from the princely, feudal classes, and the accelerating One consequence of this dependence on electronic auditorium. For this basic reason he insisted on several listened to classical performances in small venues like
pace of the country’s industrialisation, since India won amplification is that, excepting for occasional design and construction features unknown to any private houses before intimate audiences of less than
her Independence, have, on the one hand, made the performances organised in private homes or at music auditorium in India, or, in fact, in Asia or Australia, 100 people. He was struck by the way the members
survival of masters and teachers more difficult and, classes, it is not possible for present-day audiences to wherever air-conditioning is required for cooling. of the audience sat on three sides of the performers
on the other hand, provided new and attractive job enjoy the sound of Indian music in its purity. Firstly, the air-conditioning ducts for the Tata and participated visually, by their head and hand
opportunities in business and industry which have To overcome this handicap, it was decided from Theatre had to be made many times larger in size than movements, in the performance. He also appreciated
tended to draw the brighter children of performing the outset that the National Centre would build would normally have been installed for a 120-tonne the key importance of the subtle movements of the
artistes away from traditional family vocations. an auditorium of such acoustic properties as to cooling plant system, because Harris did not want to eyes and the facial muscles in classical Indian dancing

14 • August 2024 NCPA NCPA August 2024 • 15

 The semi-circular shape of the Tata Theatre ensures that even
the audience members in the last row can clearly see and hear Much thought was given to the spaciousness of the foyer of
what is happening onstage the Tata Theatre

and realised the consequent need for members of the The perfect size
audience, even sitting at the back of a theatre, not to In regard to the aesthetics of the architecture and
be too far from the stage. These considerations made the design of the main foyer, Johnson’s thinking
him decide against the traditional rectangular shape was conditioned by the desirability of providing one
(as, for instance, that of the Philharmonic Hall of the access to the theatre from Marine Drive and another
Lincoln Center) or the horse-shoe shape (such as that access from the private road in its compound leading
of the Metropolitan Opera House or of Johnson’s own to the car parking area. Accordingly, instead of the
theatre in New York) and to design India’s National traditional rectangular foyer, Johnson conceived a
Theatre in an almost semi-circular fan-like shape. foyer over 100 yards long running diagonally across
The auditorium is divided into five equal blocks, A one corner of the National Centre’s eight-acre plot.
to E, each of 208 seats, making a total of 1040 seats, The result of this design is to give a magnificent sense
with six entry doors and six aisles, which makes it of spaciousness to the foyer without making it too
possible for the members of the audience to find their large for a 1000-member audience. The simple Kota
seats without difficulty. A significant feature of the stone flooring in the entrance at the end of the foyer
auditorium is that being fan-shaped, the audience is, carries the vision to the spacious staircase with its
as it were, wrapped around the stage so that the last rich magenta carpets, speckled almost invisibly with
row of this theatre is much closer to the stage than the blue, and leading the eyes to the upper foyer with the
last row of auditoriums of a similar size. auditorium’s six entrance doors. The ceiling level over
A consequence of this shape is the impracticability the upper foyer is not unduly high for a theatre foyer—
of having a traditional proscenium curtain. It was, being only 19 feet high—and would be considered quite
therefore, decided to have a rotatable stage to normal. However, Johnson has maintained the ceiling
provide for change of sets in a drama performance. of the entire foyer at one level with the result that, at
While a relatively lightweight stage in the form of an the level of the lower foyer, the ceiling has a height
aluminium platform with a wooden parquet top was of 31 feet. Apart from the negligible economy that
recommended, Harris insisted on having a six-inch could have been effected by lowering the ceiling at
thick concrete slab with a wooden covering topped each end of the foyer, the result would not have been
by parquet, because he did not want any drumming aesthetically satisfactory whereas the foyer as it is has
effect in dance performances such as would have a grand sense of spaciousness.
occurred with a thin aluminium platform which would The learned Dr. Samuel Johnson once remarked to
react like the skin on a drum. Moreover, he refused to his biographer, James Boswell, “Nothing would ever
agree to only the stage platform rotating, but insisted, be attempted if all possible objections have to be
on acoustic considerations, on the two rear walls and overcome.” The innovative features of the Tata Theatre,
hooded ceiling over the stage also rotating with the about which questions had been asked, have proved their
stage platform. For this reason, the two halves of the worth and resulted in a pioneering building of enduring
rotatable stage are constructed like mirror images of value to the performing arts. In the pre-inauguration
each other, and the whole weighs about 175 tonnes. trial performances, members of the audience sitting in
Moreover, to exclude any leakage of sound from the the rear-most rows were able to hear with enjoyment
backstage, Harris insisted on the metal turntable which the music of delicate instruments like the sitar, sarod
MATTEO OMIED / ALAMY STOCK PHOTO

bears the stage platform and its walls and hood being and sarangi, to listen with clarity to dialogues in dramas,
constructed to a tolerance of only plus or minus two and to see with pleasure and appreciation the subtle
millimetres. Since no factory in Bombay could build a movements of the face, eyes and hands in classical
turntable of this size to this extreme accuracy, it had Indian dance recitals. Thus, the auditorium has fulfilled
to be constructed in the Maintenance Workshop of the the requirements of a national theatre.
Tata Iron and Steel Company and hauled by road in
two giant trailers and four trucks over the thousand This article first appeared in the NCPA Quarterly
miles from Jamshedpur to Bombay. Journal in December 1980 (Vol. IX, No. 4)

16 • August 2024 NCPA

MELODY

Naushad Ali and

(1950), Madhosh (1951), Ashiana and allowed him to increase
(1952) and Bhai-Bhai (1956), “Most of Madanji’s his fees to Rs. 25,000 per
Mohan found success with compositions have been film. His understanding of
Dekh Kabira Roya (1957). He Hindustani classical music
sung by Lata Mangeshkar
Madan Mohan:
became the undisputed king of was profound, and he spent
compositions inspired by the and Naushadji’s most a lot of time researching the
ghazal form after the release of cultural background of a film
memorable songs are in

Rebel Virtuosos
Adalat (1958) which featured before composing music for
timeless classics like ‘Jana Tha the voice of Mohammed it. Among his most notable
Humse Door’, ‘Yun Hasraton ke scores are Baiju Bawra (1952),
Daag’ and ‘Unko Yeh Shikaayat Rafi. I thought that this Mother India (1957), Gunga

One was the son of a munshi in Lucknow, the other, a soldier born in Baghdad. But
Hai’. will be an interesting Jumna (1961) and his magnum
Ever the military man, opus, Mughal-e-Azam (1960).
what unites Naushad Ali and Madan Mohan is their passion for music, which led them many collaborators including combination to explore” Having observed the courtly
to rebel against discouraging fathers and arrive in Mumbai to fulfil their destinies in Singh remember the staunch music traditions of Lucknow,
disciplinarian that Mohan was in the recording studio. he endeavored to bring the same quality of classical
the Hindi film industry. In this year’s edition of Bandish, Uttam Singh lends his musical Once, recalls Singh, while recording the song, ‘Har Taraf music to the masses in his films. He said in an interview,
sensibilities to curate a concert of works by the two maestros to be presented with a Ab Yehi Afsaane Hain’ from the film Hindustan Ki Kasam “Classical music has never been the art of [the] masses.
live orchestra and special arrangements. (1973), he was unhappy with the music arrangement and It flourished in the glamorous courts of rajas, maharajas
lashed out at his assistant. The entire studio comprising and nawabs. The common people, who had no access
over 40 musicians fell silent. At that moment, Singh to the great courts, were never offered the opportunity
By Vidhi Salla dared to play a short piece on the violin. Still responding of listening to classical music and therefore could not

T
in anger, Mohan demanded to know what he had played acquire an ear for it. Hindi film music gave them ample
here is deep reverence in Uttam Singh’s voice Madan Mohan
and if he could play it again. Singh’s violin solo became scope to listen to and appreciate classical music.”
when he speaks of composers like Madan the centrepiece of the musical arrangement of the song. In 1972, Mohammed Shafi, Naushad’s music
Mohan, Naushad Ali, C. Ramchandra and S. Mohan’s method of composing involved creating the assistant, brought in a young man into the studios since
D. Burman. His reminiscences about them go outline of the tune within the first few minutes followed the composer’s health was feeble and he was unable to
back to the beginning of his career when the recordist, by the arrangements in the next half hour. He once said, continue working. That young man was Uttam Singh,
music director and arranger, known for films such as Dil “In a film where three minutes is all the time given to a who worked as a music arranger in the studio for 35
to Pagal Hai (1997), Gadar: Ek Prem Katha (2001) and song, the foremost requirement is that the song should years, writing, composing and creating background
Pinjar (2003), started out at the age of 14 as a violinist, be capable of capturing the interest of the listeners in scores for films. In an interview for this article, he
playing in the ensembles of these accomplished the short period and sustaining it in the years to follow.” recalled the maestro’s composition style. “For Naushad
composers. This perhaps explains why, instead of saab, everything had to be big: car, house and music.
directly approaching singers to present the works of Master of the classical If I asked him for a certain number of musicians for an
Naushad and Mohan at Bandish 2024, the NCPA reached Growing up in Lucknow, Naushad Ali was surrounded by arrangement, he would often say, ‘Itne kyun? Zyada
out to Singh to curate a musical experience. The result classical and folk music, poetry, language and tehzeeb. lo.’ [‘Why so few? Use more musicians.’] He would say,
is a concert with Singh’s arrangements comprising a His obsession with music, which began when he was ‘Get 100 musicians if you need, never compromise on
live orchestra of over 50 musicians and five singers who 10, was met with much disapproval from his father who
will be performing the choicest tunes of both maestros was convinced that the profession of a musician was Naushad Ali

onstage. Speaking about navigating their vast oeuvre, he not a respectable one. Naushad confessed to receiving
notes, “Most of Madanji’s compositions have been sung taleem on the sly from his music teachers, Yusuf Ali
by Lata Mangeshkar and Naushadji’s most memorable saab and Babban saab in Lucknow. When he was 17,
songs are in the voice of Mohammed Rafi. I thought this his father asked him to choose between his home and
will be an interesting combination to explore.” Mohan his music. In an interview with Prasar Bharati, he said,
created a unique idiom of a combination of ghazals “Toh maine kaha ‘ghar aapko mubarak ho’, aur maine
and soulful melodious compositions in film music and ghar chhod diya.” (“So, I wished him well and I left my
Naushad effortlessly fused the worlds of classical and Mohan was keen on joining the film industry but was home.”)
folk music to offer unforgettable film albums, many of enlisted, on the insistence of his father, in military school He chose to join a local theatre company, travelling all
which went on to have silver jubilee editions. and later the army. Still, he kept the embers of music over the country with it. When the company returned to
alive by organising programmes for his fellow soldiers. Lucknow, Naushad decided to try his luck in the movies
King of melody After the end of the Second World War, he joined and moved to Bombay in 1937. He initially stayed with an
Legend has it that Madan Mohan showed musical All India Radio (AIR) Lucknow where he interacted with acquaintance from Lucknow and after spending a few
leanings when he was only two years old. His family several musical personalities including Begum Akhtar, nights sleeping on the pavement of Broadway theatre
resided in Baghdad in British-occupied Iraq and while Ali Akbar Khan, Vilayat Khan and Roshan Ara Begum. He in Dadar, managed to find a job as an assistant to music
growing up, he spent hours listening to gramophone composed and orchestrated a number of programmes director Jhande Khan. Later, under the stewardship of
records. He was known to dexterously pick out any for national radio, but films remained his true calling composer Khemchand Prakash, Naushad found steady
record his father demanded from a pile of hundreds and he quit AIR to join the Hindi film industry. Despite employment as an assistant and a chance to allow his
even before he developed any reading or writing his father’s established production company, Mohan music to flourish.
proficiency. His family moved to pre-partition Punjab received no support from him because he had given up With Prem Nagar (1940), he became an independent
after Iraqi independence following which his father, his job against his father’s wishes. It took him several composer and gradually made his mark on the Hindi
Rai Bahadur Chunilal, moved to Bombay and set up years of struggle to find his footing as a composer for film music scene. He tasted unprecedented success
ALAMY

Bombay Talkies with Himanshu Rai and Devika Rani. Hindi films. Following the mild reception of Aankhen with Rattan (1944), an album that garnered record sales

18 • August 2024 NCPA NCPA August 2024 • 19

 Our Supporter
In conversation with Aloka Majumdar, MD,
Global Head of Philanthropy and Head of
Sustainability – India, HSBC

HSBC has been supporting the NCPA since 2015. How

do you see this support evolving in 2024?
Our association with the NCPA over the last nine
years reflects the true spirit of partnership. The NCPA
is one of the country’s leading organisations working
towards preserving our rich culture and heritage.
When we first discussed skill development as one of
the key pillars of HSBC’s community initiatives, the
NCPA highlighted an urgent need for conserving
Indian art forms. It started with supporting skill
development for the youth and budding artistes in
Indian classical music—vocal and instrumental—and
classical dance forms. As the partnership evolved, it
became clear that there was also a need to train these
Uttam Singh very talented young artistes in financial planning, an
area where HSBC brought in its expertise. Over the
the sound.’ There is an anecdote about him from the years, the programme expanded to include many
’60s that for one pizzicato section (plucking sound more young artistes.
of a stringed instrument) he had invited about 40 From 2024 onwards, as the partnership grows
musicians. For the title track of the television show, The in strength, the initiative is making much-needed
Sword of Tipu Sultan, we had called in 90 musicians strides to include artistes from the LGBTQIA
community from low-income households in the
and recorded the background track for 20 episodes
Umang series for promising dancers. In the coming
in three days.”
days, we eagerly look forward to seeing the impact
these steps have made in empowering communities
A musical soirée through the arts.
For the tribute concert at the NCPA, Singh has chosen
eight to ten songs by each composer. Mohan’s tracks HSBC’s support to the preservation of cultural
include hits such as ‘Dil Dhoondta Hai’ from Mausam, heritage ranges from encouraging young talent to
‘Betaab Dil ki Tamannaa’ from Hanste Zakhm, ‘Teri celebrating eminent artistes. Could you share with us
Aankhon ke Sivaa’ from Chirag, ‘Naina Barse Rimjhim the thought behind this broad-based association?
Rimjhim’ and of course, the eternal ‘Lag Jaa Gale’, Our association with the NCPA aims to preserve
both from Woh Kaun Thi? From Naushad’s oeuvre, and propagate the vast repertoire of traditional
compositions and other music and dance forms
he has picked melodies including, ‘Madhuban Mein
at all levels of artistry. A unique initiative named
Radhika Nache Re’ from Kohinoor, ‘Aaj Purani Raahon
‘Promising Artistes Series’ supports emerging
Se’ from Aadmi, ‘O Door ke Musafir’ from Uran artistes by providing a performance platform. This
Khatola, ‘Suhani Raat Dhal Chuki’ from Dulari and initiative encourages collaboration and mutual
the iconic ‘Pyaar Kiya Toh Darna Kya’ from Mughal- learning, as young artistes share the stage with
e-Azam. specialists, fostering unique opportunities for
The singers who will be performing these songs observation and artistic synergy. The culmination
include Vibhavari Apte Joshi, Hrishikesh Ranade, of this effort comes through by way of the Bandish
Anwesshaa, Smita Adhikary and Rajesh Panwar. festival, a platform that is dedicated to presenting
For a number of songs, Singh has changed the high-calibre artistes, showcasing works of renowned
arrangements and introductions while retaining the composers throughout the ages to audiences and
young artistes.
flavour of the original. “Wherever I felt there was room
for change, I’ve done it but for the most part
we have kept them intact. With such popular NCPA-HSBC Bandish: A Tribute to Legendary Composers
songs, one has to defer to the original Umakant Gundecha and Anant Friday, Tata Theatre
composition otherwise it takes the fun out Gundecha (dhrupad and dhamar) 2nd August,
of listening to them,” he says. Certainly, in 6.30 pm
the able hands of an accomplished musician Sanjeev Abhyankar (khayal, haveli
who has worked with both Naushad and sangeet and Sanskrit pad)
Madan Mohan, these compositions will only Malini Awasthi (thumri, dadra, Saturday, Tata Theatre
be enhanced onstage. kajri, chaiti, sawan and jhoola) 3rd August,
6.30 pm
The concert on day three of this year’s edition Compositions of Naushad and Sunday, Jamshed
of NCPA-HSBC Bandish, curated by Uttam Madan Mohan 4th August, Bhabha
Singh, will be presented on 4th August at the Curated by Uttam Singh 6.30 pm Theatre
Jamshed Bhabha Theatre.

20 • August 2024 NCPA

EXPRESSION

I
n the wee hours of the morning, hundreds of Founded in 1930 by renowned
students wake up, walk hastily to their kalaries

The Colours
(ateliers) and start repeating their practical poet Vallathol Narayana Menon
lessons from the previous day. Some do their and his close friend and art
body exercises while others roll their eyeballs in aficionado, Mukundaraja,
defined patterns with great precision. In another kalari,
Kerala Kalamandalam has been

of Kerala
the sounds of morning riyaaz blend with the songs
of cuckoos and nightingales welcoming the sunrise. instrumental in preserving and
Those specialising in make-up and costumes used in
Kathakali and Kutiyattam can be seen engrossed in
propagating the rich cultural
embellishing faces of noble, wicked and grotesque heritage of Kathakali, Mohiniattam,
Established almost a century ago, the Kerala Kalamandalam has been a torchbearer characters, with needle-like precision, on earthen pots. Kutiyattam, Thullal and various
Such is the exuberance of Kerala Kalamandalam, other classical and traditional
for the preservation and propagation of the vibrant performing arts of the state. which is synonymous with classical and traditional
This month, the August Dance Residency will see a performance, workshop and lecture- performance forms of Kerala. Once you step into the performance forms from Kerala
demonstration that will highlight the nuanced aesthetic of Kathakali. lush green precincts of Kalamandalam, you are in a
world strikingly different from the mundane stresses Kerala Kalamandalam is a revered institution that
By V. Kaladharan & Sreevalsan Thiyyadi and strains of life. Mythological heroes and heroines stands as a beacon of traditional arts in India, particularly
embrace you through lilting melodies and visuals. in the state of Kerala. Founded in 1930 by eminent
The dancing gods and demons in the Kathakali and poet Vallathol Narayana Menon and his close friend
Kutiyattam kalaries speak to you in a stylised language and art aficionado Mukundaraja, with liberal material
of hand gestures and facial expressions occasionally support from Kakkad Madappattil Valiya Kunjunni Raja,
interspersed with a dose of realism. Kalamandalam has been instrumental in preserving
and propagating the rich cultural heritage of Kerala,
especially in the domains of Kathakali, Mohiniattam,
Kutiyattam, Thullal and various other classical and
traditional performance forms.
Rabindranath Tagore’s Santiniketan and Rukmini
Devi Arundale’s Kalakshetra Foundation were probably
an abiding inspiration for Menon in his mission to
establish Kalamandalam against all the odds. This
historic step brought Kathakali, Kutiyattam and
Mohiniattam from the confines of temple walls and
the courts of provincial chieftains to the public sphere.
It opened up opportunities for aspirants to learn and
perform these art forms cutting across the barriers of
community, caste and religion. From the sacred realm
of devotion, the arts and artistes gradually began to
carve out a broader aesthetic space in the changing
sociocultural environment of modern democratic India.
Without this timely intervention, many of the leading
traditional performing arts, which were often patronised
by feudal families, would have become extinct.
Having moved to its permanent location on the
banks of River Nila in 1936, today Kerala Kalamandalam
is not merely a strictly residential educational institution
but a cultural sanctuary where the essence of Kerala’s
artistic traditions is meticulously nurtured and passed
down through generations.
With an ever-growing number of students and
sufficiently augmented teaching strength for various
disciplines of art which have been introduced over time,
Kalamandalam moved to Vallathol Nagar in 1971, which
now functions as its main campus. This 33-acre sprawling
property, rich with local flora and fauna, is vibrant with
the charm and energy of several hundred students with
creative aspirations. The edifice of the Koothambalam,
the traditional temple-theatre of Kerala suited for the
staging of Kutiyattam and Nangyarkuttu, is a marvellous
example of the state’s architecture at Kalamandalam.

ANPU MEDIA
Kerala Kalamandalam has been functioning as
A still from Kerala Kalamandalam’s a grant-in-aid institution under the Cultural Affairs
production of Subhadraharanam which
depicts an episode from the Mahabharata
22 • August 2024 NCPA NCPA August 2024 • 23
 The Kalamandalam Koothambalam

Department, Government of Kerala; from the Ministry Over the years, Kalamandalam has
of Culture, Government of India and from the Sangeet
Natak Akademi, New Delhi. It has also received support
welcomed scholars such as Alice
for Kutiyattam from Funds-in-Trust established by Boner, Beryl de Zoete, Clifford
the Government of Japan under UNESCO projects
to safeguard intangible heritage. In 2007, the
Jones, Peter Brook, Milena Salvini,
Government of Kerala elevated this institution as a Eugenio Barba, Phillip Zarrilli and
deemed university for art and culture. Ariane Mnouchkine, who have found
Over the years, Kalamandalam has been a
major destination for scholars and practitioners of inspiration here in pursuit of their
performance arts worldwide. European and American artistic endeavours
scholars such as Alice Boner, Beryl de Zoete, Clifford
Jones, Peter Brook, Milena Salvini, Eugenio Barba, seminars and research activities aimed at promoting a
Phillip Zarrilli, Ariane Mnouchkine have visited deeper understanding and appreciation of the state’s
Kalamandalam in pursuit of their artistic endeavours. traditional arts. Its magnificent Koothambalam comes
One of the most notable aspects of the institution is alive almost every evening with live performances by
its adherence to the guru-shishya parampara, wherein the best artistes. The annual cultural event, Nila Festival,
knowledge and skills are imparted through rigorous generally held in December and January, is a prestigious
training and personal guidance. This age-old tradition platform for artistes, scholars and art enthusiasts from
fosters a deep sense of discipline, dedication and across the globe, further enriching the cultural landscape
reverence among the students towards their art forms and of the region. Tourists who seek cultural experiences find
gurus. Over 600 students across seven departments, with Kerala Kalamandalam to be a rewarding inclusion to their
some joining at the age of 14 and many leaving at 23 only itinerary.
after their post-graduation, are part of Kalamandalam. Over the years, the institution has produced a galaxy
The student-teacher ratio is 4:1 and all the students are of eminent artistes who have not only upheld the legacy
fully supported by the government. of Kerala’s traditional arts but have also made significant
Kathakali, the iconic classical dance-drama of Kerala, contributions to the global cultural scene. Many of them are
holds a special place at Kalamandalam. Here, students recipients of national honours, including Padma Bhushan,
undergo extensive training in the elaborate gestures, Padma Shri and Sangeet Natak Akademi Awards and
expressions and body movements that characterise this Fellowships.
vibrant art form. Similarly, Mohiniattam, the graceful In essence, Kerala Kalamandalam stands as a bastion
dance form known for its lyrical movements and subtle of culture, where the past converges with the present to
expressions, is taught with precision and finesse. shape the future of classical arts in India. Its unwavering
Kutiyattam, recognised by UNESCO as a Masterpiece commitment to excellence, coupled with its reverence for
of the Oral and Intangible Heritage of Humanity in tradition, makes it a true gem in the cultural tapestry of the
2008, is another jewel in Kalamandalam’s crown. This state. With its centenary round the corner, the institution is
ancient Sanskrit theatre form, with its intricate mudras marching ahead with novel initiatives that seek to further
and consummate acting that invoke rasa, finds new life spread the spirit of the arts of Kerala.
through the dedicated efforts of the institution.
Apart from formal education, Kerala Kalamandalam August Dance Residency 2024 will be held on 21st and
ANPU MEDIA

also serves as a platform for performances, workshops, 22nd August at the NCPA.

24 • August 2024 NCPA

FESTIVAL

The NCPA
Matthew Whitaker, pianist
When Dr. Charles Limb put Matthew Whitaker in the
scanner at an MRI facility in California, he discovered

International Jazz Festival 2024

that the young jazz pianist’s entire brain, including the
visual cortex, lights up in response to music. Blind since
birth, doctors had given less than a 50 per cent chance
of survival to Whitaker. Music, however, became an

Introducing the impressive line-up for this year’s edition. early companion to Whitaker who would crawl towards
music as a baby. His father told CBS News, “Matt was
playing the chords and the melody of the song at the
Brandon Goldberg, pianist same [time.] He hadn’t had a lesson or anything. And
A piano prodigy, Florida-based Brandon he was three years old. So my question was, ‘Okay,
Goldberg has evolved into a confident who showed him how to do that?’” A bonafide child
musician who is, according to DownBeat prodigy, Whitaker has been performing at prestigious
magazine, “in possession of gifts many fail venues around the world, including Carnegie Hall, the
to ever acquire: an unassailable technique,
advanced harmonic understanding, a deep
“This is an artist who is here for
sense of swing and, most impressively,
a clarity and plethora of ideas executed the long haul, whose approach
to near-perfection.” Only 18 years old, to each instrument is thoughtful
Goldberg has performed at leading jazz
festivals and clubs in the US, and is a 2024 and distinctive—melodic and
YoungArts Winner with Distinction and a improvisational on piano, complex,
semifinalist at the 2023 Herbie Hancock
Institute of Jazz International Piano
textured and harmonically dense
Competition. Goldberg has performed on organ.” – Splash magazine
several times on national television in
the US, including a recent appearance on Good Kennedy Center, Lincoln Center. When he was 10, he
“An unassailable technique, advanced Morning America. On the release of his third served as the opening performer for Stevie Wonder’s
harmonic understanding, a deep sense of swing album Brandon Goldberg Trio Live at Dizzy’s,
multiple Grammy award-winning producer
induction into the Apollo Theater’s Hall of Fame. When
Whitaker was told about his brain scan and asked what
and a clarity and plethora of ideas executed to David Foster said about the young pianist: he thought it meant, he simply said: “I love music.”
near-perfection.” – Downbeat magazine “Heart, heart, heart, along with, of course, his
blazing chops and phenomenal instincts.”

In 1985, when Dizzy Gillespie encountered released her first album, Veronica’s House
Rubalcaba’s musical prowess, he remarked of Jazz, and began performing with her
that the young musician was “the greatest parents. By 13, she had released her second
pianist I’ve heard in the past 10 years.” A year “A miraculous album, It’s Great to Be Alive. This was also
later, his talent was noticed by American voice, musical the time she was heavily influenced by the
bandleader Charlie Haden and then Blue Note
Records president, Bruce Lundvall. Over the
ability and rock band Queen. It was while watching
Freddie Mercury perform that Swift realised
next couple of years, Rubalcaba was part of technique, she wanted to do something similar.
some stellar recordings that set the stage for as well as an “Something larger than life and theatrical
a successful career in rock and roll, putting all of these genres
innate gift for
“The most the US, where he now together to create one’s own artistry,” she
lives. Rubalcaba’s entertaining a has said. This churning for innovation comes
gifted pianist music is influenced
crowd.” - The through in her 2023 album Veronica Swift,
Swift,
on the planet.” by Afro-Cuban folk, in which she has explored French and Italian
Wall Street Journal opera, European classical music, bossa nova,
– Simon Rattle, music. “I used to listen
classical and popular
blues, industrial rock, funk and vaudeville.
conductor to huaracha, bolero, American jazz critic Bill Milkowski has said
KASIA IDZKOWSKA (GOLDBERG); ALAMY (RUBALCABA)

rumba, all the typical Veronica Swift, vocalist of Swift that she has perfect pitch and phrasing. Swift
Gonzalo Rubalcaba, pianist and composer Cuban styles but at the same time, I listened a lot of According to The Wall Street Journal,
Journal, Veronica has performed with Emmet Cohen and has toured with
British conductor Simon Rattle has said that Gonzalo classical music because of my brothers ... I was also Swift “has a miraculous voice, musical ability and the Benny Green Trio and with Wynton Marsalis and
Rubalcaba is “the most gifted pianist on the planet.” surrounded by Afro-Cuban music and its roots,” he said technique, as well as an innate gift for entertaining the Jazz at Lincoln Center Orchestra.
The three-time Grammy award-winning pianist and in an interview with Billboard. He has won Grammys a crowd.” Having grown up in a household of
TAYLOR BRAND (WHITAKER)

composer originally wanted to become a drummer but for Nocturne (2001) and Land of the Sun (2004), both passionate musicians—her mother is banker-turned- The NCPA International Jazz Festival will be held
started studying the piano when he was eight “just to collections of Latin ballads and boleros recorded with jazz singer Stephanie Nakasian and her father is the from the 22nd to 24th November at the Tata Theatre.
please his mother” and on graduating, he worked as Haden. In 2022, he won the Grammy for Best Jazz late jazz pianist Hod O’Brien—Swift has always been The box office opens on 9th August for Members and
both a drummer and pianist in venues across Havana. Instrumental Album for Skyline. immersed in the culture of jazz music. At nine, she 12th August for the public.

26 • August 2024 NCPA NCPA August 2024 • 27

INITIATIVE

Big
Little
are treasure houses
that continue to be
a haven for readers,
artistes, researchers
and scholars. The

Things
Little Free Library
is a happy addition
to inspire visitors to
read, read more and
become a part of a
community of like-
The NCPA is now part of minded people. It
a global book-exchange aims to democratise
the very act of
network with its very own reading. A series
Little Free Library. of future events
arts. It was only fitting then that the second book exploring just that and more is in the works.
exchange hosted by the NCPA in June kicked off with a Dexy the Double Bass offers a wide range of books.
By Aishwarya Bodke double bass solo featuring Sarabande and Gigue from With gripping award-winning literature, mystery
Bach’s Cello Suite No. 1. The beautiful Tata Theatre novels, biographies, young adult fiction, self-help,
clubs. Some eyes were set on the scores of Elevator Block, which has seen legendary artistes walk children’s books, cookbooks and much more, there is
books on the shelves of the library, others in over the years, became the venue for the exchange something for everyone.
lingered on the walls that displayed award- and readers were delighted to embrace a lesser-known Located within the NCPA campus, it is, in essence,
winning photography by Sanctuary Nature nook of the campus. Classical music from the exclusive a people’s library. The shelves are kept full, thanks
Foundation. To be surrounded by art while archives of the NCPA kept everyone company as they to the generosity of readers. It is in the endearing
reading a great book is as good as it gets. turned the pages of their chosen book. Young readers, appeal of pre-owned literature that our community
The launch marked the beginning of an as fascinated by the repurposed instrument as they book swaps find their heart. The pages exude a whiff
endeavour to cultivate a culture of reading were by what was on its shelves, paid Dexy several of careful hands on them, of dried flower petals
for the sake of reading. visits, returning with a haul too big for their hands. firmly pressed within them. It is in the handwritten
Little Free Library (LFL) is a non-profit After an evening filled with books and conversations, annotations and footnotes that you find someone
organisation based in Minnesota in the visitors were treated to works of Mozart, Piazzolla and else’s tryst with a book. They have been read before.
US that seeks to expand accessibility to Mascagni performed by the musicians of the SOI: the They have been loved before. And they are now
books for all through a global network of first home of Dexy, the Double Bass. yours.
community book-exchange boxes. Running For years now, the NCPA has housed valuable
on the universal honour code of ‘take a book, literature within its precincts, in addition to leading The NCPA is accepting book donations for its Little
share a book’, these libraries are free from various outreach and educational initiatives. The NCPA Free Library. Please leave them at the reception and
the constraints of time, space and privilege. Reference Library and the Stuart-Liff Collection Library help us provide great literature for all.
The LFL at the NCPA comes with a

A
musical twist. A double bass that served the
Sunday morning this summer beckoned Symphony Orchestra of India for years was recycled to
readers and art enthusiasts of all ages, become a moving library, stationed across the campus
from all over Mumbai to the Dilip Piramal in the majestic theatre foyers open green spaces and the
Art Gallery for the launch of the NCPA’s art gallery. Months of planning, labour and collaboration
Little Free Library. A community book swap among various departments brought the instrument to
gathering, it opened doorways to the joy of collective its current form, fondly christened Dexy the Double Bass.
reading. Visitors arrived armed with a book in hand. The unconventional form of the NCPA’s LFL bears
Some took over quiet corners by the windows while the stamp of it being nurtured in a centre for culture. It
others deliberated over spontaneous roundtable book signifies the marriage of literature and the performing

28 • August 2024 NCPA NCPA August 2024 • 29

 COMPETITION

Celebrating Youth
The 14th edition of the Con Brio Festival will present early works by iconic classical composers.
By Smit Shah

‘Honoloulou, pota lama! Honoloulou, Shirish Malhotra (flute), Marialena Fernandes (piano), Jasiel Peter (double bass)
and Praveen Karkare (tabla) perform Claude Bolling’s Suite for Flute and Jazz
Honoloulou, Kati moko, mosi bolou Piano Trio at Con Brio 2016
Ratakou sira, polama!’
Such were the words chosen by
Francis Poulenc for one of the interludes
in Rapsodie nègre, a piece he composed at
the age of 18. The text was a mix of farcical
words that did not mean anything. Just
before its premiere, the baritone refused to
perform, wary of appearing ridiculous. In a
surprising turn of events, Poulenc, hidden
behind a large music stand, sang the
interlude himself. The sight of a soldier,
clad in his uniform, belting out pseudo-
Malagasy lyrics would have created
an unusual effect. Much to Poulenc’s need for experimentation. John Cage’s In a competition-festival, scheduled from 26th
relief, the rhapsody, dedicated to French Landscape is a case in point, which explores to 29th August, will present a programme
composer Erik Satie, was a resounding the unique sounds produced by holding of ‘youthful’ works from across Europe
success. the piano pedals down for the entirety of and the Americas—two regions where
The backstories of the early works of the 10-minute piece. Finally, this eagerness Western classical music has been most
composers, often driven purely by their raw can also be fuelled by the sole aim of richly nurtured.
eagerness of expression, are abundant with shocking the public by challenging their Con Brio 2024 will host the final stages
such anecdotes. This desire to create often expectations, as is evident in Beethoven’s of the National Piano, Violin and Voice
arises out of inspiration drawn from other early sonatas and, of course, in Poulenc’s competitions, featuring performances of
artistes’ works. For example, Edward Elgar semi-Dadaist work mentioned earlier. young musicians selected out of a total
composed a Credo for choir at the age of The 14th edition of the Con Brio of 112 applicants. Highlights also include
16, based on themes from Beethoven’s Festival, titled Wonder Years, will present a violin-cello duet titled Water Droplets
Fifth, Seventh and Ninth Symphonies. works by iconic classical composers composed by Sibelius at age 10, Variations
This eagerness can also emerge out of the written when they were quite young. The for Clarinet and Piano by Rossini, De
Falla’s ‘Danse Espagnole’ performed by
Sonam Lodhi performs Clara Schumann’s Piano Concerto at Con Brio six hands on one piano, Gershwin and
2019, accompanied by the festival strings and directed by Parvesh Java
Piazzolla’s works played as a duet on two
pianos, an early Vivaldi violin concerto,
Poulenc’s Rapsodie nègre, a Mozart Motet
for Soprano and Strings written at the
age of 16, Rachmaninoff ’s Trio élégiaque
composed at age 17, a piano quintet by
Miguel del Aguila evoking an imaginary
visit to a clock museum, and some witty
choral compositions.
Celebrating the success of the first
instalment of the Con Brio Conducting
Weekend, a workshop that took place
earlier this year, the festival will also
introduce several young conductors,
leading various vocal and instrumental
ensembles.

Con Brio 2024 – Wonder Years will be

Con Brio 2023 concluded with Mussorgsky’s Pictures at an Exhibition, held from 26th to 29th August at the
featuring an ensemble of strings, soloists and pianists, and was
accompanied by the visual art that inspired this composition
Experimental Theatre. The author is Director
of the Con Brio Festival.

30 • August 2024 NCPA

 Closer Than Ever
With new infrastructure projects, the commute to South Mumbai from western, central and
eastern suburbs is becoming shorter, bringing the NCPA closer to art lovers across the city.

With the sea on three sides, Mumbai has gasped Coastal Road and Mumbai Trans-Harbour Link are the
for space ever since its seven islands were stitched latest examples, which many believe will prove to be
together. It spilled over to the suburbs to its north and gamechangers in bringing the far ends of Mumbai
east, so far from the centre of the city that its residents closer. The Mumbai Metro, the most expansive and
have long resigned to what is undoubtedly among the broad-based of these infrastructure projects, is
most challenging daily commutes anywhere in the tantalisingly close to completion. All of this points to
world. To save time and money, the vast majority uses one fact—the NCPA and its wealth of artistic offerings
the local train service which, during peak hours, bursts are now closer than ever too. Whether you live in
at its seams. This discourages many, who can afford Andheri or are a resident of Navi Mumbai, spending an
it, from using the trains. Quite naturally, the roads are evening amidst music, dance or theatre will no longer
clogged at most times of the day. be a difficult choice. We bring you the voices of people
With no space to expand, the city has always who commute daily to the NCPA—the organisation’s
turned to the sea to yield some. The newly constructed very own employees.

Delzad Inspector, Andheri Siddharth Deshpande, Vikhroli

It used to easily take me 1 hour and 10 minutes to drive I use the Eastern Freeway during my commute to the NCPA,
to the NCPA; using the Coastal Road takes 45 minutes. which takes about an hour. If not for this arterial road, it would
easily take me one hour and 45 minutes to reach Nariman Point.

Tehmi Nussirabadwalla, Bandra Poonam Jalan, Powai

It’s a smooth drive from SV Road in Bandra to Nariman Point in the I use an app-based private bus service for my morning
mornings and I am at the NCPA within 30 minutes, something commute which takes the Coastal Road for the last leg of
unimaginable even un l a few months ago. The return journey has the route. It helps me avoid taking the local train on my
been reduced to 45 minutes to an hour from what used to take at way to work and saves me about 20 minutes.
least one and a half hours.
Sujata Jadhav, Kharghar, Navi Mumbai
I commute to the NCPA via the Mumbai Trans-Harbour Link (MTHL),
which allows me to cover 48 kilometres in a swi� 50 minutes, compared
to the previous two-hour journey each way. The route is not only scenic
but also free of bo lenecks un l I reach the Eastern Freeway. The P.
D’Mello Road tends to be crowded in the evenings.

SV Phene, Shivaji Park, Dadar

IThe
lookCoastal
forwardRoad is a big
to using theboon that has reduced my
SEEPZ-Bandra-Colaba daily
Metro travel
line. me to
Audience
members
the NCPA.who
Withfind
its itnorth-bound
difficult to find
armanow
taxi back homeup
extended after a show
to Worli can
Sea
avail of the new AC bus service by BEST, on route number A-78, which
Face, it has made the drive back home smoother. I look forward
will take them from the NCPA onto the Coastal Road, Haji Ali junction, to using
the SEEPZ-Bandra-Colaba
Mahalaxmi railway station andMetro line when
Byculla West it becomes
railway opera onal.
station. Pinky Patel, Seawoods, Navi Mumbai
I use the Uber shu le service which takes the MTHL and drops me
right outside the NCPA. It has reduced my travel me from one
Prashant Karkare, Shivaji Park, Dadar
and a half hours to 55 minutes. Both the shu le service and the
The advancements in infrastructure have significantly benefited office
NMMT bus service (which s ll uses the old route) are cost-
goers. The Eastern Freeway, the Bandra-Worli Sea Link and now the Coastal
effec ve and comfortable means of transport. New AC buses by
Road have mi gated traffic conges on. For me too the Coastal Road has
BEST, which ply from Belapur via MTHL to Vidhan Bhavan, are also
reduced the travel me considerably besides the scenic drive all through.
convenient. I s ll prefer using the local train in the evenings to
avoid traffic.
GETTY IMAGES
STAGECRAFT
years can be largely attributed to the internet and
social media where humour has accompanied newsy
developments as commentary and turbulent tragedies
in the form of catharsis. Memes have become the foot
soldiers of pop culture. The pandemic saw numerous
fundraising comedy shows and a surge of content
creation online, expanding the scope of the industry.
The culture of stand-up, though, is cradled at the open
mics by various comedy clubs where, on any given
night, someone might be stepping onto the stage for
the first time.
Starting with intimate open mics on Thursdays
in 2016, The Habitat is now a mecca for comedy in
Mumbai. Its curation cuts through formats and has
fostered an ever-growing audience. The venue now
also has a larger performance space right above its
comedy room, christened, Above the Habitat. Owner
Balraj Singh Ghai wears many hats and is a walking
extension of the venue. He describes the comedy boom
as a pyramid. At the top are popular comics, who have
been performing for years, and at the bottom, those
who are just starting out. For the ones at the top to
keep doing better, you need more people being added
at the bottom. “Otherwise, it is going to get boring. It
is interesting to see a new comic go through the entire

In on the Joke
journey of finding their voice,” he explains.
The function of time does carve out a chasm despite
the popularity of Indian stand-up. Talking about her
experience performing abroad, Ashfaq draws attention
to the privileges that she and her fellow comics here
do not have access to. “When you
As a relatively new industry, Indian stand-up comedy is a force to Mumbai-based perform in a first-world country,
reckon with. A conversation with the insiders. comic Urooj Ashfaq
won the Best
you see a fundamental difference in
Newcomer award approach. They get to be better at the
at the Edinburgh art because they get to have it for so
By Aishwarya Bodke Comedy Awards
in 2023 long. They have government support

T
for their artistic pursuits, whereas
he turn of the last decade unlocked an ‘Oscars of comedy’. With disarming charm, her ours are stifled by the system. It can
avalanche of jokes. Initially starting in small humour is one of fierce vulnerability. She reigns over tamper with how you pursue your art
rooms with a few chairs and a mic, Indian the room while unpeeling the hardened wounds of and the integrity it allows,” Ashfaq
stand-up comics today sell out stadiums not her parents’ divorce, making sense of her religion and explains.
only in the country but across the world. A flipping through pages of her childhood diary. There When she started performing in
space that did not exist for a long time is now filled with is a warmth that transcends the stage. 2016, what could be said onstage
a great many voices—fledgling and promising, doted Although previous Edinburgh Fringe line-ups have was already limited. A Muslim woman
upon and curtailed, loud, nonetheless. Uncomfortable included noted artistes like Vir Das, Aditi Mittal, Anuvab in comedy, the boundaries have been
truths come wrapped in wit for uncomfortable laughs. Pal and Sumit Anand, Ashfaq is the first Indian comic different for her than most others.
A quiet revolution it is not. to win at the festival that is as old as independent She avers that women before her had
Stand-up comedy in India is a young industry. Its India. “We are at the beginning of something great. already laid the groundwork to make
tremendous growth in less than two decades, however, We have only journeyed through the first decade of “We are at the beginning of something great. We it a better space. “They suffered so I
is no laughing matter. Gone are the days when the comedy here so there is a first-mover advantage. We have only journeyed through the first decade of did not have to. I got hired at a lot of
metropolises of Mumbai, Delhi and Bengaluru were all get to be the mothers and fathers of Indian comedy. places because they had paved the
exclusive comedy-consuming markets. Small-town We all get to do firsts,” she tells us. comedy here so there is a first-mover advantage. way for it,” she elaborates.
However, Ashfaq sheds light on
comics have broken through the internet to millions Another regular Indian presence at international
We all get to be the mothers and fathers of Indian
of views and packed auditoriums. Recurring Indian comedy line-ups is that of Anirban Dasgupta. His the absence of diverse voices. “We
names on international tours, in competitions and art latest show Polite Provocation garnered immense comedy,” says Urooj Ashfaq do not have adequate representation
festivals are ubiquitous. applause at the NCPA. Intergenerational tales and a from different socio-economic
“Indian audiences are very giving. We love to stream of cynicism make their way to a depiction of a short amount of time is incredible. When I tell my backgrounds and castes. The well-off can afford to
laugh,” says Urooj Ashfaq, backstage after a sold-out quotidian life. foreign counterparts that we have our own web shows, pursue the arts. Although it is better than before, it is
NCPA premiere of her show Oh No!. She is all set to Having performed extensively at the Melbourne writing and producing credits on films and specials still tricky terrain,” she tells us.
return to the Edinburgh Festival Fringe this month International Comedy Festival and at Just for laughs that are touring the world, they find it hard to believe. Dasgupta, who has had to take down content due
GETTY IMAGES

where she won the Best Newcomer at the Edinburgh in Montreal, Dasgupta argues that the Indian comedy The world is sleeping on Indian stand-up,” he asserts. to backlash and threats in the past, relies on a writing
ALAMY

Comedy Awards last year, often considered the scene is self-sufficient. “What we have achieved in The explosion of comedic voices in the last few process where several filters make way for a natural

32 • August 2024 NCPA NCPA August 2024 • 33

selection of jokes. But he believes that comedy, ideally,
should not have any limits. “When we perform outside
the country, there is a fair degree of confidence that
we will not end up in jail for telling a joke. We certainly
do not have that here, and this stems from a lack of
constitutional protection. Our freedom of speech is
very fragile [which compels us to] toe the line and
practise forms of self-censorship,” admits Dasgupta.
The insolent scrutiny under which Indian stand-
up subsists is undeniable. Dasgupta deems it an
interesting challenge to be a comic in an environment
where people get agitated very quickly. Every word is
measured, and offence calculated at the source. It is
the art of playing with fire. Of telling a joke where the
ones it would offend, do not understand it.
Comedy and satire have never been pro-
establishment. Court jesters are no friends of the king.
The entitlement to demand an apology from an artiste,
of invading and vandalising comedy clubs is a recent
From left: Balraj Singh Ghai, Founder
phenomenon. Comics have been forced to tone down, of The Habitat, Mumbai, with comics
consult lawyers at the very initial stages of writing and Kenny Sebastian and Vir Das
stick to subjects that are not political.
But what is not political today? It is a delicate dance interesting line-ups at the NCPA. Located mostly in the
and comics have learned the choreography. Despite suburbs, these comedy clubs have found a platform in
the odds, is there hope for a future less suffocating the southern part of the city through the centre.
for artistes? Dasgupta chuckles, “I think the answer Ghai speaks with ardour about shaping stand-
changes completely after the election results.” up as a shift in pop culture. “A lot of credit goes to
Along with comedy clubs, art centres and houses the comics that have performed with us. Constant
of culture can contribute to making room for stand- experimentation was a priority. The club started as an
up comedy. The NCPA collaborates with several experiment, and it continues to be that way. The day
forerunners in the comedy landscape to bring worthy we stop experimenting is the day we start inviting our
voices to centre stage. The Habitat, That Comedy Club death,” he elucidates.
and Comedy Ladder regularly present solo shows and For years now, the NCPA has hosted different
forms of stand-up comedy. Vir Das, India’s famous
“With its historical significance, funnyman and a global powerhouse, found a stage at
the NCPA is very aspirational for a the NCPA when he was only starting out. One of his
favourite places to perform in the world, he has called
lot of comics. It certainly was for me. the Jamshed Bhabha Theatre “the Carnegie Hall of
It helps us reach out to a different India”. Pal’s stand-up show, The Empire, debuted at the
NCPA in 2015. It has since travelled around the world.
and larger crowd,” says It was also filmed as part of a special show of the BBC
Anirban Dasgupta World Service and is part of the permanent viewing
collection at the Victoria and Albert Museum, London.
Anirban Dasgupta is set to “With its historical significance, the NCPA is very
perform at the Edinburgh aspirational for a lot of comics. It certainly was for me.
Festival Fringe 2024
It helps us reach out to a different and larger crowd,”
says Dasgupta.
They say it is a great time to be an Indian comic.
Last year, Das became the first Indian to win the
International Emmy Award in the comedy category
for his Netflix special Vir Das: Landing. While he was
the first Indian comic to perform at Carnegie Hall,
Zakir Khan, whose gig was part of the NCPA’s 50th
year celebrations, became the first Asian comedian to
crack up an audience at the Royal Albert Hall with not
an empty seat in sight. Ashfaq’s Edinburgh win comes
as a happy addition to the roster.
Every so often, the tides turn and art flourishes.
To be an artiste is to live with this duality. Dasgupta
confesses that when uncertain, he goes back to
something that fellow comic Varun Grover had once
said and he paraphrases: the worst time to be a comic
is the best time to be a comic.
44 • August 2024 NCPA
HARMONY

In the
Running
Of the 32 singers who have recently
made it to the quarterfinals of Operalia
2024 to be held in Mumbai, we speak to
two with roots in India.
By Narendra Kusnur

T
he excitement is palpable as the NCPA comes
close to hosting the renowned Operalia
competition for the first time in India. The
brainchild of legendary Spanish tenor Plácido
Domingo, the annual event has been the launching
platform for some of the best voices in the genre since
it was started in 1993.
This year’s edition, presented by Rolex, will be held
from 15th to 21st September. A total of 32 participants,
between the ages of 20 and 32, have been recently
announced. The pre-selection jury looked at parameters
like technique, timbre and musicality. As per past
practice, there are no separate categories for men and
women, as the idea is to choose the most promising
voice. For the record, there is equal representation,
with 16 men and 16 women. Darwin Prakash as Count Almaviva
Only video recordings of high quality, shot within in Mozart’s Le Nozze di Figaro at
Staatsoper Hannover. Photo by Clemens
the past year, were accepted. These recordings were Heidrich for Staatsoper Hannover
to be of only two opera arias, from different operas
and performed in their original language, while the
conditions for the zarzuela category varied slightly. Darwin Prakash societies in college. Later, he joined The Neemrana
Only live piano or orchestra accompaniment was Baritone Darwin Prakash, who was born in Mumbai Music Foundation in Delhi, where he met his mentor,
“My aim is to absolutely
accepted and pre-recorded karaoke orchestra was and grew up in New Delhi, is currently a member of the noted vocal teacher Dr. Robert Alderson, at a internalise the music I am
prohibited. the solo ensemble of the Staatsoper Hannover in masterclass in 2014.
The participants were shortlisted after a tough Germany. He was the winner of the National Mozart That was the turning point. “Dr. Alderson showed
preparing and make sure that I
competition. Among female singers, there are 11 Competition in the UK in 2019 and has been declared an interest in my voice and encouraged me to have a am able to deliver a high-quality
sopranos and five mezzo-sopranos. The men comprise Premio Extraordinario at the Tenor Viñas Competition few lessons with him when he was in Delhi. He advised
four tenors, eight baritones, two bass-baritones and in 2021. He has also won the inaugural Gus Christie me to seriously consider dedicating a year to train with
performance in what will be a
two bass. award at the Glyndebourne Festival in East Sussex. him in the UK with the goal of auditioning and securing high-pressure scenario,” says
The US has the largest representation, with eight Prakash, 31, got into serious opera rather late, in his a spot at a major music conservatory to pursue a
participants, followed by Russia, with five. Ukraine early 20s. As a child, he loved the music in the Tom master’s in Vocal Performance,” says Prakash.
baritone Darwin Prakash
and South Korea have two finalists. So does the UK, & Jerry cartoon series on TV, without realising that it Dr. Alderson helped Prakash secure sponsorship to
of which one—Liam James Karai—is of Indian descent. included excerpts from operas by Gioachino Rossini, support him with living costs, studies and travel. Adds Prakash later joined the Royal Academy of Music,
One participant, Darwin Prakash, is Indian. Georges Bizet and Johann Strauss II. Prakash, “He generously offered to accommodate me where he was under the tutelage of Mark Wildman.
While those are the broad statistics, ON Stage Prior to music training, Prakash studied geology at his residence and allowed me to use his home as a “Dr. Alderson was a constant support there and also
spoke to the two participants with Indian roots about at Ram Lal Anand College in New Delhi. Music base in the UK for six months. He trained me in every during my days in Germany with the Staatsoper
their love for opera and their preparation for this year’s lessons were expensive, and his primary source of aspect that was necessary and important in order to Hannover,” he says.
edition of Operalia. learning was through the church choir and music be a full-time music student.” In Hannover, Prakash essayed a number of important

36 • August 2024 NCPA NCPA August 2024 • 37

 Liam James Karai as Escamillo in Carmen
at Staatstheatre Mainz. Photo by Andreas Etter

“I will ensure that all the repertoire I will perform is in its best
shape. I have been focusing on showing as many vocal colours
and variations as possible,” says bass-baritone Liam James Karai
roles, including Figaro in Il Barbiere di Siviglia and Eventually, Karai got roles like Angelotti in Puccini’s
Marcello in La bohème, as Papageno in The Magic Flute, Tosca, Count Ceprano in Verdi’s Rigoletto and Figaro in
Chou En-lai in Nixon in China and Conte Almaviva in Le Mozart’s Le nozze di Figaro. He says, “I always find that
Nozze di Figaro. He is now looking forward to his visit role preparation varies but it is crucial to give it months of
to Mumbai, the city of his birth. “My aim is to absolutely time. Even if a role is shorter, or in a language I can speak,
internalise the music I am preparing and make sure that I ensure that enough time is set aside to really understand
I am able to deliver a high-quality performance in what the libretto, music and then find ways of expressing the
will be a high-pressure scenario,” he concludes. character’s feelings.”
Besides the sheer opportunity of participating in
Liam James Karai Operalia, Karai is excited about two things—singing in his
Bass-baritone Liam James Karai, currently a member grandfather’s town and meeting Domingo. He says, “I will
of the International Opera Studio of Staatsoper ensure that all the repertoire I will perform is in its best
Hamburg, is of Scottish, Irish and Indian descent. His shape. I have been focusing on showing as many vocal
Indian connection is through his grandfather, who was colours and variations as possible.”
Parsi, born in Mumbai and educated in Panchgani, To keep his voice in shape, Karai does some vocal
Maharashtra. exercises every day, even when there are no rehearsals. “It
The Hong Kong-born musician, now 26, took to makes me feel I am always on track for whatever challenge
classical music when he was just eight, and began with is next. In many ways, I see singing as a sport,” he says.
flute lessons. He was exposed to opera only at the age Interestingly, both Karai and Prakash use physical
of 14, after hearing a singer present an aria from Bizet’s exercise as part of their routine. While Karai visits the
Carmen. That prompted him to take vocal lessons from gym, runs and plays basketball, Prakash relies on cardio
her. Having moved to the UK after stints in Bahrain, exercises and yoga. They are both aware the competition
Belgium and Dubai, Karai even studied banking and will be tough but are looking forward to it.
finance at the University of Leicester, but since he
began getting many singing offers, decided to do The 2024 edition of Operalia will be hosted by the NCPA
further courses in opera. from 15th to 21st September.

38 • August 2024 NCPA

 IN MEMORIAM

Addio, Celia Lobo

Remembering the prima donna of India’s operatic stage.
By Dr. Luis Dias

Rigoletto (1967) – at the end of the performance, (from left)

Naval Havaldar, Cesar Coelho (Conductor), Imelda Lobo
(Maddalena), Paolo Silveri (Rigoletto), Celia Lobo (Gilda), Celia Lobo (soprano) and Tehmie Gazdar (pianoforte)
David Parker (the Duke) and Derek Bond (Director) at the Little Theatre in March 1978

On 18th June, when news of the sad to Mr. Khushroo N. Suntook. He fondly
demise of “India’s only opera diva”, Celia recalled the spell she cast over that entire
Lobo, began to flood social media, it generation of concertgoers.
inevitably triggered memories of my own By a stroke of luck, I connected
brief association with her. with Lobo again. In January 2017, I was
In 1989, I had just begun to play in invited to be a panelist at an international
the ranks of the violins of the Bombay conference on Asset-Based Community
Chamber Orchestra (BCO). A group of us, Development (ABCD) in Goa. An
the ‘Goan contingent’ (usually violins, cello, Celia Lobo (1937-2024) Australian delegate, Carolyn Vincent,
double bass), would travel from Goa to happened to mention in a discussion that
Mumbai (then Bombay) for the final week and shade to her phrasing that brought out her mother was none other than Lobo.
of rehearsal and the concert. Although we Butterfly’s vulnerability. I learned that Lobo had recently had a
were offered accommodation nearby, I Another fond memory I have of those stroke but had recovered well. I was going
generally preferred to stay with my relatives early-morning rehearsals is getting a ride in the next month to Mumbai for the NCPA
in Chembur. Lobo’s chauffeur-driven, air-conditioned production of Puccini’s La Bohème, so I
One BCO concert that year featured car (as she also lived in Chembur) to the offered to take her to the performance.
two soprano arias, sung by Celia Lobo, Max Mueller Bhavan in ‘town’. It was the last time I met her, but it was
from the golden era of Italian opera—‘Pace I unfortunately wasn’t even born when a pleasant evening spent in her company,
pace mio Dio’ (‘Peace, Peace, my God’) Lobo reigned supreme as opera diva in the full of insights about the nuances involved
from Verdi’s La Forza del destino and ‘Un bel many staged productions of the Bombay in singing at a live opera performance.
dì’ (‘One fine day’) from Puccini’s Madama Madrigal Singers Organisation (BMSO) The death of Celia Lobo truly marks
Butterfly under the baton of American in the 1960s. But I got a fair idea of those the end of an era for music not only in
conductor Dr. George Trautwein. times when speaking many decades later Mumbai, but for the whole country.
Thinking back on it, that was the first
time I heard opera sung live on such a high Mr. Khushroo N. Suntook, Chairman, NCPA, and a connoisseur of opera,
level, with orchestral accompaniment. shares his remembrance of the soprano and Western classical music in the
It was quite a privilege to sit among the Bombay of the ’60s:
violins in the orchestra, to watch and hear “Celia Lobo is probably the finest operatic singer India has produced
those arias take shape at rehearsal. within living memory. She had remarkable control over her singing line and
Thirty-five years have now elapsed since coloratura technique. In the 1960s, a series of performances of complete
Lobo sang those arias with such dramatic operas such as Tosca, La traviata, Lucia de Lammermoor, etc. with local
flair and emotional range, admirable breath stars Lobo and Fay Ferreira, and international artistes such as Luigi
control and a divine timbre of voice, but Infantino and Paolo Silveri was a pathbreaking initiative by local forces led
they still stand out in my memory. She by the wonderfully multifaceted members of the Bombay Madrigal Singers
conveyed the urgency of her character Organisation. These performances, held at the Tejpal Auditorium near
Leonora’s desperate situation in ‘Pace pace August Kranti Maidan, with Lobo often in the lead female role, were truly
mio Dio’ with a lustrous, dark timbre. Her a highlight of the city’s music season. What is also remarkable is that they
portrayal of Cio-Cio-San in ‘Un bel dì’ was were scantily supported by the local authorities or any influential bodies.”
touching and finely detailed, giving light

40 • August 2024 NCPA

 OPINION

For the Record

Every month, Jimmy Bilimoria delves into the musical treasures of the NCPA’s Stuart-Liff Collection.
Here, he writes about the short but brilliant career of Spanish tenor Miguel Fleta.

An ideal of Spanish audiences of the 1920s and

1930s, ranking with the greatest tenors of the day,
Miguel Fleta was born in Albalate de Cinca in the
Aragon region of Spain on 28th December 1897.
Gifted with a voice of great natural beauty, he
achieved a measure of local fame by singing popular
Spanish songs. After winning a contest in Zaragosa,
he commenced serious studies at Barcelona’s Liceu
Conservatory, later going to Italy for further training.
Fleta made his debut in 1919 at 22 years of
age at the Verdi Theatre in Trieste as Paolo in
Zandonai’s opera Francesca da Rimini under
the direction of the composer. Zandonai was
so impressed with Fleta that he asked him
to create the part of Romeo in his new opera
Guilietta e Romeo.
Fleta had tremendous success at the Teatro Real
in Madrid, Teatro dell’Opera in Rome, La Scala in
Milan, Staatsoper in Vienna and Teatro Colón in
Buenos Aires. Before he turned 30, Fleta had been
engaged with the Metropolitan Opera, making
his debut in the 1922-23 season as Cavaradossi in
Tosca opposite Jeritza. At the Met, he also sang in
Aida, Rigoletto, La Bohème, Pagliacci, Andrea Chénier,
Les Contes d’Hoffmann and L’Amico Fritz. With the
Chicago Opera Company, he appeared in Faust,
Manon, La Traviata and The Barber of Seville. At La
Scala, he sang in La Favorita and Les Huguenots. He
was annually engaged by the Teatro Colón from
1922 to 1927. Fleta left America in 1927 and by
1930, he was well established in Italy.
Puccini’s last unfinished opera, Turandot, was
presented at La Scala on 25th April 1926 with
Toscanini conducting. It was an honour for Fleta
to create the role of Calàf despite the availability
of Gigli, Lauri-Volpi and Martinelli.
Fleta’s repertoire reveals that he was equally
at home in the dramatic, lyrico-spinto and
lyric roles, a versatility almost unknown today.
His artistic phrasing and ability to produce a
diminuendo on a high note are well exemplified in his singing was only 40. However, the legacy of his short career along with
in Rigoletto or I Puritani, while in The Barber of Seville he was his fame and reputation as one of the great tenors of our time are
like a rival to Schipa. secure for posterity.
A large-sized voice of smooth sensuous quality, used with the
utmost artistry and musicianship, it is hardly a wonder that Fleta The NCPA houses the world-famous Stuart-Liff Collection of 6,000
was worshipped in his native Spain and idolised by opera goers the books, 11,000 LPs and 12,000 CDs on Western classical music. This
world over. The zarzuelas are Spain’s most popular form of music collection was generously donated to the Centre in 2009 by Vivian Liff,
and it was with these that Fleta made his important reputation. on behalf of George Stuart and himself, as a gesture of their friendship
Fleta travelled far and wide and was heard in Greece, Belgium, with Chairman Mr. Khushroo N. Suntook, an avid collector and
Japan, Scandinavia, Poland, Austria, France, Czechoslovakia and connoisseur himself. The collection is an invaluable source for research
Hungary. However, his endless touring, concert after concert, by musicologists and students as well as for general music lovers.
opera after opera, did take a toll on his voice which eventually The library housing the collection is open from 10 am to 5.15 pm
ALAMY

deteriorated. He died an impecunious man on 29th May 1938. He on weekdays.

NCPA August 2024 • 41

IMPRESSION
paying the rent and maintenance of his home, studio,
salaries of the two studio assistants, purchase of clay- “After 10 years of my clay practice,
related supplies, etc.
I finally got this opportunity of
A costly affair showcasing my work at a prestigious
Mondal’s situation is not uncommon to emerging and
mid-career clay practitioners. While there is a notable
private art gallery,” says Suvajit
post-pandemic boom in hobbyists and serious Mondal, noted for his hyper-realistic
practitioners of the art in India, the initial years are
the toughest. Community studio centres like the Lalit ‘urbanscapes’ which incorporate
Kala Akademi (Delhi, Chennai and Kolkata), Ceramic dots, lines, windows, miniature pots
Centre (Baroda), Roopankar (Bhopal) are equipped
to offer shared space, kiln, clay, electricity and storage and found objects from horsehair to
on rent at affordable costs, but the challenge begins
when one wants to work out of a personal studio. The
discarded door frames
first purchase is usually a kiln, as every clay-modelled
sculpture needs to be fired. A good quality kiln costs equipment and clay—collaborate with galleries,
anything between `1.50 lakh and 10 lakh depending institutions and pottery markets on events, and sponsor
on its size. If you are engaged in wheel throwing, clay-related materials needed for the workshops and
a wheel costs between `45,000 and 50,000. Slab other such interactions conducted. A case in point
rollers are priced around the same range and other is the recently concluded Indian Ceramics Triennale
tools fall between `10,000 and 20,000. The initial (ICT), for which the brand sponsored a sizeable chunk
investment for a basic studio thus starts from `3 lakh. of supplies. “We support their marketing activities,
In a bid to make it easy for stakeholders in this inform our client base and provide clay and tools to
‘expensive’ art, clay suppliers like Mumbai’s Bhoomi help the organisers generate awareness and overcome
Pottery—a one-stop shop for local and imported glitches due to lack of funding,” says the company
spokesperson. They sponsor group dinners for
the participants as a networking opportunity.
Efforts made by Bhoomi Pottery to ensure
quality and build customer relationship within
the contemporary clay community, though
seemingly altruistic, have helped create brand
presence. “The pottery clay supply market is still
a relatively ‘unknown market’ in India,” notes the
Vinod Daroz is known for his spokesperson pointing to the huge gap between
experimental approach to the high demand and inconsistent supply of
contemporary ceramic art
certain products from the manufacturers’ end,
which leads to orders for select items regularly

The Brittle Truth

getting delayed by two to three months.
“Occasionally, while going through customs, the
imported orders are not handled with care. Local
courier companies, too, often leave the orders
For emerging, mid-career and even established ceramic artists, the struggle to find a
out in the rain, and we suppliers get stuck with
footing in the art world is real. these damaged goods.” Kilns, for that matter,
By Ornella D’Souza are “fast-moving products”, with 15 to 20 of

A
them sold per month, motivating the brand “to
rtist Suvajit Mondal looked visibly elated to his art despite seeing batchmates switch to more soon touch the 50-kiln marker, and then 100”.
while setting up his clay-based artworks lucrative careers. Instead, while practising his craft, Like most industries, big cities harbour the
at Delhi’s Art Heritage gallery. This was Mondal took up multiple stints to self-sustain. He has maximum opportunities. Smaller places like Goa—
days before the opening of a recent group been an instructor and studio-in-charge of the Ceramic despite its influx of tourists, flea markets and
show titled Shape Shifting in which Mondal was a Centre at Sanskriti Kendra, participated in group creatives settling down there—lack big platforms
participating artist hand-picked by curator Kristine shows by the government-run Lalit Kala Akademi and and the right exposure for clay practitioners.
Michael, herself an established author and ceramicist. India Habitat Centre, sold functional pottery wares at “The same Goan artist, if based in Mumbai or
“After 10 years of my clay practice, I finally got this Dastkar and potter’s markets across India. His only Delhi, would have got miles ahead in their career.
opportunity of showcasing my work at a prestigious prior association with a private gallery—considered a For instance, it was at our recent all-women
private art gallery,” gushed Mondal, who is noted for his benchmark for artists—is with the fairly new APRE Art ceramicists show Unearthed when, for the first
hyper-realistic ‘urbanscapes’ made using clay-based House in Mumbai. At present, he is a visiting faculty time, artist Tanushree Singh, who has always
PHOTO COURTESY: VINOD DAROZ

mediums which incorporate dots, lines, windows, member at the Indian Institute of Art and Design (IIAD), sold her work online, got a chance to display it
miniature pots and found objects, from horsehair to Okhla, and rents a one-storey studio space called The physically and interact with her audiences,” says
Suvajit Mondal describes his

ORNELLA D'SOUZA
discarded door frames. Potter’s Life, at Chhatarpur in Delhi, which he runs with work as a combination of the Sharada Kerkar, Operations Head at Museum of
The 35-year-old, who has a fine arts degree from wife, artist Nandini Sarkar. He also conducts pottery ever-changing urban landscape Goa (MOG).
with his personal experiences
Viswa-Bharati at Santiniketan, has stayed dedicated classes at the studio and his earnings go back into Unlike contemporary art practices, clay

42 • August 2024 NCPA NCPA August 2024 • 43

mediums are still breaking
away from the traditional
mould of their perception
as a craft form, and face
limitations while attempting
certain themes. Like
political satire, says Shirley
Bhatnagar, a Dehradun-
based ceramicist and teacher
at the UPES School of Design,
who was selected by the
ICT to represent India at the
British Ceramics Biennial
in 2019, supported by the
Charles Wallace India Trust.
Despite such laurels, her
anthropomorphic crockery
works like ‘The Broken Like most of her work, Shirley Bhatnagar’s
Promised’, shown at ICT ‘The Broken Promised’ is unique, hand-crafted,
surprising and demonstrates a sense of humour
2018, that connoted false

always do a test batch. I find readymade glazes a bit

The pottery clay supply market is flat. They are fired at 1240 to 1260 degrees Celsius,

still a relatively ‘unknown market’ in while I fire my works at 1280 to 1300 degrees and find
a marked difference.”
India. There is a huge gap between The sameness, alas, also extends to concepts ripped
off from Instagram or Pinterest posts of other artists.
the high demand and inconsistent “About 10 years ago, I could find only a handful of artists
supply of certain products from the on Instagram doing anthropomorphic clay works. Now,
there are over 100. I belong to that generation of artists
manufacturers’ end, which leads to who created from scratch and turned to art books
orders getting delayed by two to for inspiration. Sadly, the young are only bombarded
with images online, which become their inspiration,”
three months. notes Bhatnagar.

assurances of politicians across the world, didn’t get the Light at the end of the tunnel
desired reception. “The narrative of my work includes “It’s tough as a full-time ceramicist, without the
humour. Which is difficult because not everyone finds crutches of a monthly pay package. If you give your
everything funny. One of my works quoted Lalu Prasad 100 per cent, opportunities come your way. The
Yadav promising to make Bihar’s roads as smooth as struggle makes you an all-rounder. You learn to hustle,
Hema Malini’s cheeks. The press did not write about my produce and sell commercial crockery and also sustain
work, however, the security guards and Hindi speakers your art practice,” says Mondal, who has four group
at the show struck up a conversation with me because exhibitions lined up in 2024 alone.
I had used the Devanagari script.” “If your work is good, people will help you,” says
Daroz, recalling the instance when a benefactor
Accessibility: a double-edged sword? reached out and offered him studio space for free,
Bhatnagar finds it liberating to see clay supplies being which he availed for almost 11 years. Daroz has been
delivered to the doorstep, especially since she had to privy to the creative processes of noted ceramicists—
do her own firing, mixing clay, making glazes, colours he is the nephew of P. R. Daroz and was a student of
and stains, since her graduation in 1998, “when nothing Jyotsna Bhatt. But it is only after 25 years of working
was available”. This kind of accessibility, however, in the medium that he could finally afford to build his
can prove limiting with the Indian market having only own studio this year: a one-storey, 25,000 square-
a handful of good suppliers, all of them sourcing from foot space in Vadodara. The artist, known for his
the same set of manufacturers and local and imported nature-inspired themes and erotic motifs outlined in
brands for clay, colour stains, glazes, kilns and 24-karat gold to symbolise oneness, is currently doing
PHOTO COURTESY: SHIRLEY BHATNAGAR

wheels. This ‘sameness’, feels Bhatnagar, trickles into a residency on invitation at the Wangou Taoxichuan
the artworks. “Like a snake eating its own tail,” she International Studio in China. “My 22-inch clay platters
says. While she has made the switch to readymade that sold for `5,000, are now valued at `1 lakh,” he
products, she still produces a few of her favourite adds, hinting at the immense scope and reach of clay.
glazes. Artist Vinod Daroz, meanwhile, makes all his One of the oldest human inventions is casting new
glazes. “I find glazing to be like cooking. It needs to moulds, one which is gratifying to the creator, on both
be sampled for quality. Every time I create glazes, I monetary and aesthetic fronts.

44 • August 2024 NCPA

 BOOK EXCERPT

The Remarkable Reach of Radio Ceylon

In Radio for the Millions: Hindi-Urdu Broadcasting Across Borders, Isabel Huacuja Alonso examines the history
of Hindi, Urdu and Hindustani radio in the Indian subcontinent from the 1930s to the 1980s when it was
not only ubiquitous but created ‘transnational communities’ of listeners. In the excerpt below, Alonso traces
how Lord Mountbatten’s powerful military transmitter, left behind in Ceylon, brought the people of India,
Pakistan and Sri Lanka together through popular music of the day.

In the summer of 1944, largely in and other war-related hindrances set back
response to newspaper reports, the British the transmitter’s arrival. It was not until
government ordered an investigation into May 1946 that the famed and powerful
the low morale and poor working conditions Marconi transmitter finally aired its first
of British soldiers stationed in South and broadcast from Ceylon. By then, the war
Southeast Asia. The official report, prepared had been over for more than a year, and
in November 1944, concluded that soldiers Mountbatten was making plans to leave the
were, indeed, suffering from low morale island. It was in the 1950s and afterward
and made several recommendations. These that the military transmitter, now in the
included improving medical facilities and hands of the independent Ceylonese
providing larger beer and cigarette rations movement, finally reached its full potential.
and better radio programmes. In response Shortly after the country’s independence in
to the specific recommendations regarding 1948, Ceylon launched a Hindi-language
radio broadcasting, the War Office, which commercial service targeting listeners in
handled military-related logistics, came newly independent India and Pakistan. The
up with an ambitious plan: setting up a station, however, rose to fame towards the
transmitter in Delhi that would be powerful end of 1952 when All India Radio (AIR)
enough to reach British soldiers anywhere inaugurated an ambitious set of reforms. In
the war in Asia would take them. The War the wake of these reforms, Radio Ceylon
Office surmised that access to radio, in began broadcasting Hindi film-song
particular, listening to “authentic news from home” and enjoying programmes and quickly began to garner a loyal audience in
the latest musical hits, would offer disillusioned British soldiers newly independent India and Pakistan. In the decades to come,
a much-needed “link home”, and would boost their morale. That Radio Ceylon and the film industry in Bombay developed an
summer, the War Office asked the Marconi Company to construct important reciprocal commercial relationship. Film producers
a state-of-the-art one-hundred-kilowatt shortwave transmitter— provided the music that helped Radio Ceylon attract listeners
about as powerful as possible then—and initiated the complicated and sponsors to its Hindi-language programmes. Radio Ceylon
arrangements to ship the transmitter, which took up an entire broadcasters, in turn, not only made these songs widely available
room, to the Indian capital. on the airwaves but also developed programmes that consciously
Louis Mountbatten, a media-savvy individual, famous for fostered listeners’ active participation.
his skill at public relations and tendency for showmanship, What Mountbatten could not have possibly known in the
immediately took an interest in the ambitious radio project and summer of 1944 was that shifting his command from India to
its Marconi-built transmitter. Mountbatten is best known in the Ceylon and bringing the transmitter to the island would have such
Indian subcontinent for his role as the last British viceroy of India. important consequences for the history of sound and radio in the
His decision to hasten the British retreat from the subcontinent Indian subcontinent. In the post-independence period, Radio
in 1947, many historians believe, contributed to the turmoil that Ceylon—its broadcasters and listeners—was able to effectively
followed independence. Yet for the history of radio and music, contest the independent Indian government’s ambitious reforms
it was Mountbatten’s prior, lesser-known military post as the to create loyal citizen-listeners because Radio Ceylon, located in
supreme commander of the South East Asia Command (SEAC) the neighbouring nation-state island of Ceylon (now Sri Lanka),
that proved most influential. To sidestep the bureaucracy of lay outside the Indian government’s jurisdiction, both physically
the colonial government of India and the growing anticolonial and administratively. Moreover, by cultivating audiences in
movement, Mountbatten decided to shift his command offices to Pakistan in addition to India, Radio Ceylon broadcasters also
the nearby island of Ceylon. He then lobbied hard and succeeded indirectly challenged the Pakistani state’s efforts to mould a new
in bringing the Marconi transmitter to the island instead of India national culture disconnected from India...
as originally planned and set up a brand new station in Ceylon
exclusively for British soldiers. He called the station Radio SEAC, Independent Ceylon’s Commercial Radio
after his command’s initials. When Ceylon gained independence in 1948, the British closed
Ultimately, Radio SEAC did not turn out to be the prominent down Mountbatten’s Radio SEAC but left behind the powerful
military radio station Mountbatten had envisioned. A dock strike military transmitter on the island. As soon as British officials

46 • August 2024 NCPA

learned of the Ceylonese government’s desire to use the transmitter Much like the Australian commercial radio stations where
for commercial broadcasting, they began to regret letting the Dodd had worked, Radio Ceylon’s India-Pakistan Beam originally
broadcasting equipment “out [of their] hands.” One alarmed featured music from the US. For example, a programme called
officer noted: “I did not realise what a wide area Radio SEAC can Fran Warren Sings showcased the young American female singer’s
cover.” The transmitter’s broadcast can “reach into Iraq and to the most popular numbers. A programme titled Negro Spirituals
east to almost the whole of China. It can, of course, reach all the likely replicated the same racist dynamics of US radio shows that
parts of India with great clarity.” British officials were particularly featured African American music. Other more generic sounding
worried that US businesses could take advantage and advertise musical programmes, such as It’s Dance Time, My Songs for You
their products on the airwaves “with serious consequences to and Singing Americans, played the latest musical numbers from
United Kingdom markets.” Moreover, commercial broadcasting the US. All of Radio Ceylon’s early programmes were in English, a
“across frontiers” they noted, could have unexpected political language that only a privileged fraction of the populations of India
consequences. “The danger here is that the government may and Pakistan could understand.
not stop at ordinary commercial broadcasting—toothpaste, In late 1951, Radio Ceylon began to experiment with Hindi-
magazines, etc.—but might sell time to political bodies, e.g. Hindus language transmissions. It is unclear what triggered this important
and Moslems.” The fear that native politicians would exploit radio change. What appears to have happened is that Dodd and others
facilities had long worried colonial officials. Now, in a changed at Radio Ceylon sensed that broadcasting in Indian languages and
political world following the end of colonial rule in South Asia, particularly in Hindi, the unofficial national language of India,
British officials had few options. The size of the equipment made would attract larger audiences in the subcontinent than English-
it impossible to disassemble and ship back to England, and they language programmes. The station’s first attempts at broadcasting
could do little to stop the independent Ceylonese government in Indian languages, however, were rather unambitious. Radio
from venturing into commercial broadcasting. In March 1949, the Ceylon hired two women originally from India residing in
former military transmitter, despite British discomfort, aired its Colombo to host two weekly Hindi-language programmes,
first broadcast as Radio Ceylon. Vimla and Kamini Ganjwar,
From the beginning, Radio later known as the Ganjwar
Ceylon involved a complex In addition to radio listeners, Indian film sisters, who aired a number of
system of transnational producers too welcomed Radio Ceylon’s new Hindi film-song programmes.
collaboration. Immediately Their choice of music, however,
after independence, Ceylonese film-song programmes and began regularly does not appear to have been
politicians reached out to the
Australian government for
mailing gramophone records of new (and particularly strategic. They
likely played Hindi film songs
assistance with launching a sometimes also old) productions to its because this was one genre of
commercial station on Radio Indian music readily available on
SEAC’s premises. Australia Colombo studios. To this day, Radio Ceylon gramophone records at the time.
had developed a unique hybrid houses what is perhaps the most extensive Radio Ceylon’s timing,
system of broadcasting that however, could not have been
combined commercial and and complete collection of gramophone better. A year after Radio Ceylon
public service radio. As part of
a foreign aid programme called
records of Indian and Pakistani film songs started its modest Hindi-
language transmissions, AIR
Plan Colombo, the Australian in the world. stations ceased the broadcast
government sent out one of of film songs. Moreover, one
their best radio experts to Ceylon. Clifford Dodd, an Australian reason why Radio Ceylon was able to quickly garner an audience
broadcaster and administrator with more than two decades of is that listeners in colonial India had already been conditioned
experience in commercial radio, became Radio Ceylon’s first to tune in to the foreign shortwave station during World War II.
director of commercial broadcasting in 1948. Listeners throughout the subcontinent had turned their receiver
Under Dodd’s influence, Ceylon adopted an Australian- knobs in search of alternative radio stations on the shortwave.
style mixed broadcasting system. The Ceylonese government Many in colonial India had tuned in to Axis radio broadcasts and
managed two separate radio networks: the National Network specifically to Subhas Chandra Bose’s broadcasts (and to gossip
and the Commercial Service. The National Network relied on about and discuss them) to question British accounts of the so-
government funds, targeted Ceylonese audiences and aired called good war. During the post-independence era, listeners
educational programmes. The Commercial Service put out drew on this important radio-listening practice, and once more
entertainment programmes and relied almost exclusively on fiddled with their dials in search of alternative music programmes
commercial sponsors for financial support. The Ceylonese that better suited their musical tastes.
government owned and managed both networks, and income Some tuned in to Radio Goa’s transmissions. Goa was a
from commercial broadcasting—at least in principle, if not always Portuguese colony and its radio station, which was not part of
in practice—offset expenses from the public service network. the AIR network, continued to play Hindi film songs. Listeners in
The present study concerns only Radio Ceylon’s commercial Punjab and along the western coast were able to tune in to Radio
branch and, more specifically, the commercial service aimed at Pakistan’s Karachi and Lahore stations. Radio Pakistan would
populations in India and Pakistan, called “India Beam” and later soon also censor songs from films produced in India as part of a
“India-Pakistan Beam”. Broadcasters and listeners in India and nationalist agenda, not unlike AIR’s campaign. In this early period,
Pakistan, however, used the generic term “Radio Ceylon” to refer however, Radio Pakistan aired film songs, although not without
to this service exclusively, and I have done the same in this book. some restrictions. According to broadcasters, Radio Pakistan

NCPA August 2024 • 47

during this period avoided playing songs that referenced Hindu Molina and his associates also began to venture into
mythology or Hinduism in any way. Goan and Pakistani stations programming and established a programming branch, which
were certainly a good option for listeners dissatisfied with AIR’s they called Radio Enterprise Services (RES). Hamid Sayani, who
programming, but these stations used low-power transmitters and already was an established AIR broadcaster and a fairly known voice
could be heard only in nearby areas. In contrast, the broadcasts in India, became RES’s first director of programming. Incidentally,
from the Marconi transmitter Mountbatten had brought to Ceylon Hamid Sayani was also the legendary Hindi broadcaster Ameen
reached throughout most of India and Pakistan. As mentioned in Sayani’s elder brother and introduced the then still teenaged
the book’s opening anecdote, one enthusiastic listener in Bombay Ameen to the art and craft of radio broadcasting.
spoke for many when he wrote to Movie Times in February 1953 Magnetic tape copies of RES’s programmes travelled every
to express his satisfaction with Radio Ceylon’s new Hindi film- week—over the newly operating airlines—from Bombay to
song programmes. “The change” in programming, he remarked, Radio Ceylon’s Colombo-based studios and were broadcast to
“is most welcomed.” India and Pakistan with its powerful former military transmitter.
In addition to radio listeners, Indian film producers too At first, Radio Advertising Services staff recorded programmes in
“welcomed” Radio Ceylon’s new film-song programmes and began a small studio at St. Xavier’s College in Bombay. In later years, the
regularly mailing gramophone records of new (and sometimes company shifted to the heart of the commercial district of Colaba
also old) productions to Radio Ceylon’s Colombo studios. It was in Bombay, in front of the renowned Regal Cinema. During the
this practice that enabled Radio Ceylon to build a substantial peak of Radio Ceylon’s popularity, RES occupied the entire floor
Hindi film-song gramophone library, which broadcasters used of the building and commanded a strong presence in the Bombay
in their many Hindi film-song programmes. To this day, Radio film world.
Ceylon houses what is perhaps the most extensive and complete Back in Colombo, Dodd put as much enthusiasm into
collection of gramophone records of Indian and Pakistani film developing a solid Hindi branch in Colombo as he did into
songs in the world. This library enabled Radio Ceylon to foster a building links to India and the Bombay film industry. He
shared aural culture on the airwaves in the decades following the recruited broadcasters from India with experience in either Hindi
physical partition as well as enabled Radio Ceylon’s trans-media broadcasting or the film industry. These broadcasters became the
productions. hosts of what later came to be known as “sustenance programmes”.
Notably, royalties do not seem to have been an issue of These were Hindi film-music programmes that went out live
discussion in this early period, as producers were likely eager to from the Colombo studios and that relied on the stations’
have their music broadcast on the radio. In the late 1960s, however, extensive Hindi film-song gramophone library. RES’s sponsored
filmmakers did demand royalties for their songs and, at one point, programmes provided the income on which Radio Ceylon
even threatened to take legal action against Radio Ceylon if the subsisted, whereas sustenance programmes filled the majority of
institution did not properly remunerate them. Radio Ceylon’s broadcast hours. This meant that what listeners in
India and Pakistan understood as Radio Ceylon’s Hindi Service in
Radio Ceylon’s Sponsored and Sustenance Programmes reality was the combined work of two independent organisations:
Back in Colombo, Dodd and his team quickly noticed that AIR’s a commercial radio station owned by the Sri Lankan government
gargantuan reforms, particularly the controversial ban on Hindi and Daniel Molina’s private advertising company based in
film songs, presented a rare opportunity for their station and toiled Bombay. Staff from these two organisations worked closely
to make use of it. The Radio Ceylon team, however, faced one together, but Radio Advertising Services never maintained official
major difficulty: how could Dodd and his mostly Sinhala-speaking ties to Ceylon’s government.
staff recruit sponsors with an interest in advertising their products It was Radio Ceylon’s transnational networks that enabled
to Indian audiences? Radio advertising was a fairly new concept music and voices to move beyond national borders. The station
in India, and after the carnage of Partition, which devastated was owned by the Ceylon government but was managed by an
the region’s social and economic infrastructure, few businesses Australian director. A US-born business owner based in Bombay
wanted to experiment with new forms of advertising. Moreover, recruited sponsors for the station’s varied programmes, while Indian
Nehru’s socialist-leaning government placed strict restrictions on broadcasters, some based in Bombay and others in Colombo,
foreign exchange. This meant that Indian businesses had to apply anchored Radio Ceylon’s various programmes. Most importantly,
for special permission from the reserve bank to pay for Radio its audiences also crossed borders. In addition to India, the station
Ceylon’s sponsored programmes. developed a strong and loyal following in Pakistan.
Dodd connected with Daniel Molina, a US-born entrepreneur Pakistani film magazines’ references to Radio Ceylon offer
based in Bombay with advertising experience. Molina recruited important evidence of Radio Ceylon’s listenership in Pakistan.
foreign companies with Indian offices that could bypass the In December 1957, for example, one listener discovered that
Indian government’s restrictions on foreign exchange. Molina the Pakistani-made film Bedari (Awakening, 1956) was a copy
managed to convince CIBA, a Swiss chemical company with of the earlier released Indian film Jagriti (Awakening, 1954)
an Indian branch, to experiment in radio advertising. CIBA after listening to Jagriti’s songs on Radio Ceylon’s programmes.
sponsored many of Radio Ceylon’s pioneering Hindi programmes, Although the availability of Indian films and film songs in
including the super-hit programme Binaca Geetmala. Soon other Pakistan changed depending on the status of its relationship to
businesses followed CIBA’s lead. Britannia Biscuit Corporation, India, Radio Ceylon consistently made old and new Indian-made
Jay Engineers Works and Boots Pure Drug Company were among film songs available on the airwaves for Pakistani listeners. In the
the first companies to advertise their products on Radio Ceylon. years following the 1965 Indo-Pakistan War, when the Pakistani
Although more research would be required to better assess the government officially banned the screening of all Indian films as
profitability of advertising on the radio in this early period, CIBA’s well as the broadcasting of their songs on Radio Pakistan, listeners
and other companies’ continued sponsorship of programmes simply continued to tune in to Radio Ceylon. One listener writing
suggests that it was a worthwhile investment. to the Pakistan-based film magazine Eastern Film warned the

48 • August 2024 NCPA

government that their attempts to stop Pakistani listeners from Arts Council auditorium, celebrated Sayani both as an eminent
enjoying Indian film songs was futile because “more and more voice that had long been part of the Pakistani soundscape, as
listeners have started tuning to Radio Ceylon.” well as a shared legacy with neighbouring India and a symbol of
It is not clear whether or not other sponsoring companies a surviving shared culture nearly a half-century after Partition.
like CIBA actively advertised in Pakistan in addition to India. Express, for example, wrote that Ameen Sayani “ties India and
Yet regardless of sponsors’ interest in the Pakistani market, Pakistan together,” and QVS Audio Video noted that “radio was
there is little doubt that Radio Ceylon broadcasters were quite still waiting for a voice artiste like Sayani.”
interested in and committed to nurturing audiences in Pakistan.
In interviews, Radio Ceylon broadcasters all have noted that they Radio Ceylon and the Ideology of Hindustani
received mail from Pakistani listeners. Manohar Mahajan, for Language was a key aspect of Radio Ceylon and Ameen Sayani’s
example, in his account of Radio Ceylon, Yaadein Radio Ceylon Ki, appeal. Radio Ceylon broadcasters hailed from India and, for
includes fan letters from Pakistani listeners, alongside mail from the most part, called the language they spoke on the airwaves
listeners in India. Moreover, programming schedules reveal that in Hindi. Radio Ceylon employees, however, adhered to what I
the 1960s, Radio Ceylon began to air programmes that exclusively described earlier as “the ideology of Hindustani”. They strove to
featured film songs from Pakistani-made films. These were likely speak a language free of religious affiliations that could connect
meant to please Pakistani listeners as well as to introduce listeners speakers of other regional languages, without threatening regional
in India to film songs from the neighbouring nation. identities. In so doing, they defied both the Indian and Pakistani
Most telling is that when Ameen Sayani visited Pakistan for governments’ linguistic policies, which promoted Hindi and
the first time in May 2007, Radio Ceylon fans gathered in the Arts Urdu, respectively, as national languages.
Council auditorium in Karachi to finally “see” the man whose
voice they knew so well. That night when he replayed clips from Excerpted from Radio for the Millions: Hindi-Urdu Broadcasting
his old radio programmes, some members of the audience cheered Across Borders by Isabel Huacuja Alonso. Copyright (c) 2023
enthusiastically and others quietly shed tears, overwhelmed by Columbia University Press. Used by arrangement with the Publisher.
nostalgia. Newspaper reports of the event, like the audience in the All rights reserved.

More Love, More Information

As the acclaimed NCPA production Love and Information returns for a second run and also
prepares to embark on a countrywide tour, we bring you reactions from theatregoers from its
inaugural week at the Experimental Theatre.
When Mohit Takalkar’s Love and Information debuted at watch it. It’s beautifully constructed and performed. In a word,
the NCPA’s Experimental Theatre in April, audiences were it’s enthralling!” - Kunaal Roy Kapur, actor
left awestruck. It was unlike anything they had witnessed ■ “I’m still absorbing it. It was such an experience! I was blown
and as one of the audience members iterated, it was nothing away by all the performances, and by the imagination and
short of “phenomenal”. An adaptation of British playwright ambition that goes behind shows like these. There were many
Caryl Churchill’s play of the same name, Love and Information moments that I found moving, like some of the moments
follows an ensemble cast, with the characters embroiled in between the couples. Love and Information is beautifully
vastly different situations, interacting with each other in a true imaginative and powerful!” - Ira Dubey, actress
postmodernist vein. Here are some initial, hot-off-the-pan ■ “It was Mohit’s play, so I had to come and be here, for the
reactions to the play: opening night. Mohit’s plays are always thinkers (sic), so they
■ “The play was an amazing experience for me. It’s a very stay with you, they grow on you. He has a knack for getting
complex text that goes through tricky scenes talking about love everyone together to see his vision and project it, and at the
and the meaning of life. It was two hours very well spent in the same time, give them the freedom to take it and make it their
theatre, and I would highly recommend people to come and own.” - Vidhi Kasliwal, director
■ “One thirty-eight
characters, fifty scenes,
eleven actors, and one
stage. This is was a very
genuine experience for
me. Every actor performs
equally. The comedy, the
composition is perfect. It’s
like a combination of visuals
and messages—thousands
of messages! Everyone must
watch it.” - Gopal Shah,
director

NCPA August 2024 • 49

 OPINION

The Printed Word

Every month, we introduce a must-read book from the NCPA Reference Library, which has an
extensive collection on theoretical and practical aspects of the performing and visual arts, ranging from
ethnomusicology to architecture to folk traditions. Here, Marcelino Fernandez visits the onstage and
backstage world of Hamlet in the company of British actor, writer and director Steven Berkoff.

I Am Hamlet talks about how scholars write about the play

By Steven Berkoff with “total objectivity” whereas this book is an
Published by Faber & Faber in 1989 attempt to break away from the fallacy that an
audience must necessarily understand every
Few texts in the English literary canon find nuance of the portrayal. Berkoff (or Hamlet),
themselves on a pedestal as high as Shakespeare’s along with the audience, is also going through
Hamlet. Indelible, profound, sacred even, the these dramatic events for the first time and
tragedy has lent itself to centuries worth of therefore must react and comprehend them with
discourse and a history of staging that is almost the same surprise. This sentiment of genuine
burdened with the need to be original. Luminaries participation is what Berkoff seems to be chasing
like Laurence Olivier, Ian McKellen, Daniel Day- throughout the performance. He writes, “one
Lewis and, more recently, the much-loved Andrew must say these words as if for the first time”, and
Scott have played the titular character, each the audience must believe that what they see
casting choice a hat-tip to the vast possibilities of onstage has a novelty separate from the literary
Hamlet. Purists revere every scene and word while tradition that they are accustomed to.
bolder voices wish to escape the tradition they are However, the book is not merely an
forced to inherit. British thespian Steven Berkoff, in what he calls explanation of the acting process or technicalities of the stage. A
a “production diary”, lets the reader inside his mind as the director significant part of the narrative is also filled with thoughts about
and lead actor in his own production of the tragedy. Berkoff the relationship between theatre and society at large and how
recognised an urgent need to reinvigorate the iconic play which productions such as these reinforce the persistence of certain
had been suffering from a slew of uninspired stagings. According universal plights. Berkoff muses upon Britain’s relationship with
to him, Hamlet encompasses the “complete alphabet of human war and the role of government and welfare through the lens of
experience” which deserves a greater degree of sensitivity in order the ideas explored within Hamlet. He critiques what he refers to
to completely appreciate its depth. The book attempts to reveal as the “dung-heap morality that passes for government”. He also
why he made certain theatrical choices to portray Hamlet in the criticises the lack of ambition among directors who are content
most honest manner possible. with putting up mediocre productions and blame their failure
The role of Hamlet, Berkoff emphasises, is one of complete on the negligence of the youth. Berkoff disagrees with the idea
surrender. According to him, the distinction between actor that young people are abandoning theatre because of a lack of
and character is particularly blurred in the case of the prince of respect for culturally significant pieces of work. He puts the
Denmark. Just as the conflict within the play, contained in the onus on the directors to make theatre appealing to the changing
hesitations of Hamlet, is largely cerebral, Berkoff ’s musings times because an honest representation is what will help a new
on acting and the stage make up the essence of the book. His generation of people who want to enjoy drama. Directors who
commitment to the role is visible in the way he discusses each continue to uphold anachronistic ideals for theatre should
scene, going over the constant interplay of the action onstage instead understand that “it is a play that is a living mirror for
and the reactions of the audience. Berkoff acknowledges the whatever period we live in.”
weight of his role and does not shy away from insecurities and The narration hardly turns a dull corner and is replete with
fears. This surprisingly intimate tone of the book, together with humour and insight that keep the reader invested in both the
his acceptance of the “discrepancies in Shakespeare” and his tragedy and the performance. One can feel the cold walls of the
willingness to experiment with the source material, creates an castle Hamlet finds himself in as powerfully as the anticipation
environment of mutual curiosity and wonder. It brings the reader of Berkoff ’s thoughts about each pivotal moment in the play that
into Berkoff ’s world as both a character and audience member. propels the narrative forward almost with the force of fate itself.
He discusses everything, from the anxiety of waiting in the wings
to say your first line to the warmth of identifying emotions that Marcelino Fernandez is currently pursuing his master’s degree from
transcend the process of acting. The English and Foreign Languages University, Hyderabad.
What makes I Am Hamlet special is that Berkoff maintains The NCPA Reference Library is open to visitors from 10 am to
the narrative through the eyes of his Hamlet. He does not claim 5.15 pm on weekdays. The library membership is complimentary for
to know the inner machinations of the other people onstage and NCPA Members and Friends of the SOI. The membership is open to
actively refuses to speculate. It is an open invitation to the reader the general public at a nominal annual fee of `500/- (April-March).
to accept the perspective of Berkoff ’s Hamlet and to appreciate Casual membership for visitors (outstation visitors only) is available
the subjectivity that comes with such an artistic endeavour. He at `100/- per day. For more information, please call 022-6622 3715.

50 • August 2024 NCPA

Become a Member
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birthday month
 CULTURE DIGEST

Kaleidoscope
Your window to the latest in the performing arts across India and the world.

supporting the movement include dance

theorist Donovan Roebert as well as
India’s very own Aditi Mangaldas. While
fundraising events in France and Canada
were held in June, similar events are being
planned across Indian cities. For more
information, please visit www.instagram.
com/_aranyani_

Poe’s first verses

In a much vaunted auction held at
Sotheby’s, New York, a rare first-edition
of Edgar Allan Poe’s Tamerlane and Other
An ode to journalism her performances in 2024-25 include her Poems was sold for $420,000. Published
The 2022 documentary While We Watched debut with the Berliner Philharmoniker in 1827, Tamerlane is Poe’s first collection
on intrepid journalist Ravish Kumar and at the Metropolitan Opera. Her of poetry, published anonymously and
won at the prestigious 84th Annual current appointment at the Konzerthaus, at his own expense when he was just 18.
Peabody Awards this May. Directed which continues till the 2024/25 season, Although failing to attract much attention
by Vinay Shukla, the documentary is a comes in the wake of a rise in female at the time, it has since become one of the
portrait of Kumar amidst an increasingly conductorship across Europe and the most sought-after books from antebellum
polarised media. Covering a period of world at large. Recently, Marie Jacquot American literature. As the first, and most
two years, 2018 to 2020, it delves into was announced as the chief conductor obscure, publication by Poe, Tamerlane
the threats faced by Kumar at home and of the WDR Symphony Orchestra. For is also something of a collector’s dream-
in the newsroom. It also chronicles the more information, please visit www.
gnawing insecurities faced by his team konzerthaus.de/en
at NDTV and their gradual withdrawal
from the world of broadcasting. While For the children of Gaza
We Watched reflects on the state of the As the war rages on in Gaza, artistes across
media in contemporary India in the wake the world are finding creative ways to express
of increasing threats to press freedom their solidarity. One such movement,
and independent journalism. In its Indian Dancers for Gaza’s Children, is
statement, the Peabody committee cites being led by Bharatanatyam exponent
the documentary’s ‘poignant portrait of Aranyani Bhargav. Drawing attention
everyday courage in the face of radicalised to the atrocities perpetrated against the
politics’. For more information, please visit innocents of Gaza, the movement aims
www.peabodyawards.com to generate funds to provide aid to Gaza’s
children. Encompassing dance artistes
In capable hands as well as professionals from other fields,
Rich with tradition and suffused with the movement is a truly global one
history, Berlin’s musical landscape has and includes individuals from Canada,
been abuzz with the arrival of Joana Poland, Pakistan and Brazil among other
Mallwitz as chief conductor and artistic countries. Some well-known names catch. Over time, it has earned the
director of the Konzerthausorchester sobriquet of being American literature’s
Berlin for its 2023/24 season, during ‘Black Tulip’. Only 12 first editions of
which she recorded works by German- the book are known to exist and most of
born American composer Kurt Weill. them are housed in private collections.
They will be released this month by Susan Jaffe Tane, a well-known collector
Deutsche Grammophon. Having of Poe-related artifacts, won the bid at the
worked previously with the Staatstheater Sotheby’s auction. In 2009, this copy of
SIMON PAULY (IN CAPABLE HANDS)

Nürnberg, and then as a guest conductor Tamerlane sold for $662,500 at an auction
at the Konzerthaus Berlin, Mallwitz has by Christie’s. For more information, please
received acclaim as one of the brightest visit www.lithub.com/in-search-of-the-
musical conductors of her generation. At rarest-book-in-american-literature-edgar-
37, she is also the youngest conductor to allan-poes-tamerlane
lead the orchestra. Other highlights of – By Aditya Shiledar
NCPA August 2024 • 53
 ARCHIVES

the number of ustads was such that had From an eye-witness account concede to anybody’s musical request ...
not been seen anywhere else at any time. His singing in various ragas and raginis
The Sarangi Gains Prominence Most of these hailed from Gwaliar ... In
spite of this (also because of all this) the
in Muraqqa-e-Dehli
(1739), we get a good idea
has an effect no less than that of magic,
and what an amazing skill Niamat Khan
ON Stage brings you edited excerpts from the NCPA Quarterly Journal, an unsurpassed literary language of the country called Hindustan has obtained in his bin playing ... It can be
has gained in elegance ten-fold. In khayal of how music flourished in claimed that never in the world was there
archive that ran from 1972 to 1988 and featured authoritative and wide-ranging articles. In the compositions in this composite born such a magician of a binkar, nor is
Delhi, just after the city had
a scholarly account, musicologist, sarangi player and academic Joep Bor discusses historical language have been based on the topic of there any hope of one ever being born.
love and lovemaking.” been invaded and sacked When he begins to play the bin, the notes
sources that describe the rising popularity of the sarangi in India in the 17th and 18th centuries. The attitude of the Mughal nobility to of the instrument cast magic spells, and the
music was apparently so favourable that by Nadir Shah, the ruler of assembly goes into a strange state; people
musicians, presumably including sarangi Persia. The author, Dargah begin to flutter like fish out of water.”
Venetian traveller, writer When the English players, migrated in large numbers to Agra The famous ustad had many disciples,
and physician Niccolao traveller Peter Mundy and Delhi to try their luck. Quli Khan Bahadur, gives of whom Qasim Ali and Pannabai were
Manucci refers once more writes about the ‘dauncinge Whereas the majority of rated as the best. His brother “has an
to the ‘violin’ in his masterly wenches’ and public women instrumentalists serving at Akbar’s
a vivid description of over instrument of three strings which is
work on Mughal India. This (manganis) of Agra in 1632, court were of Persian descent, at the 50 musicians, dancers and counted among the wonders of music...”
time he writes about Agra and he does not forget to mention time of Shah Jahan the reverse was true. Was he perhaps Khusrau Khan, whom the
the humiliating conditions their musicians. He writes, Most of the instrumentalists described actors, many of whom oral tradition names as the inventor of the
in which an old Shah Jahan “One that playes on a Tabor in the Ragadarpan played indigenous served at the court of Indian sitar?
spent his last years (1657 to or little Drumme [daf]. An instruments such as bin, sarangi and Dargah Quli Khan also describes a
’66) as a prisoner of his son, old woman which doth only pakhawaj, and no mention is made of Muhammad Shah. number of vocalists who were noted for
Emperor Aurangazeb: “One singe and clapp her hands ghichak players. Obviously, Persian singing khayal, but he does not waste words
day while a number of us keeping a kinde of tyme. A fiddlers were slowly losing the battle with with the assistance of Niazi Qawwal and connecting this genre to Niamat Khan or
were present and conversing, fellow beating on both sides their native rivals, the sarangi players, and Lala Bangali before he entered the service his disciples. Was the khayal raga he talks
he (Shahjahan) sent him of a Drumme [pakhawaj or soon the ghichak would almost completely of Muhammad Shah (1718-48). During about an innovation of Niamat Khan? Was
(l’tibar Khan) two violins duhuf J ... A woman Clappinge disappear from the Indian music scene. the reign of Shah as well, he composed a it dhrupad that incorporated elements of
he used, asking for them to two things like Sawcers of Hindustani music, on the whole, seems to large number of such songs and set them contemporary khayal, and became later
be repaired and sent inside brasse [tala], keeping tyme have experienced a phase of innovation, to tune. It must be remembered that Shah known as Sadarang khayal? According to
again as quickly as possible. also.” renaissance and above all ‘indianisation’. himself was an expert musician and his lnayat Khan ‘Rasikh’ (1734-35), Niamat
The eunuch did not trouble No mention is made The sarangi, however, was still in a poetic name in his songs was ‘Sadarangila’ Khan was also a great dhrupad, khayal and
himself about having them of any stringed instrument transitional stage, shifting from rural to (the ever-gay). tarana singer, who composed khayals with
repaired; then three days and it is possible that this urban society. Its role in classical music If we believe what vocalists tell us, a high degree of perfection, and D. C. Vedi
afterwards Shahjahan sent to adventurous Englishman was not yet clearly defined. Sadarang and Adarang (Firuz Khan) has often explained and demonstrated that
inquire whether they were visited dancing girls who The most dramatic development that composed numerous khayals which they there is little difference between ‘classical’
mended. At this the eunuch belonged to the lower strata took place in music in 17th-century Delhi taught to their disciples, mainly women khayals composed by Sadarang and old
flew into a rage, and, with a of society. On the other hand, was perhaps the rise of khayal, which singers who propagated this ‘feminine’ dhrupad compositions.
vinegary face, sent them off to if we take Mundy at his word, “... is sung in two lines in desi language,” genre during the 18th century. Fortunately, It is hardly surprising that the author
be repaired. Thus it was only ‘Saqinama’ (1685) by Nur al-Din Muhammad Tahir Zuhuri features it is likely that sarangi players the spoken language of the people. With we do not have to rely on the oral tradition of Muraqqa-e-Dehli makes no mention
12 musicians playing different instruments including a sarangi,
after eight days that they were kupuz, kamancha, drums, panpipes, flute, veena and tambourine had not yet penetrated the these matter-of-fact words, Faquirullah alone. From an eye-witness account in of ‘Miyan Sarang’ as the ‘inventor’ of the
returned.” quarters where these women demonstrates conclusively that this vocal Muraqqa-e-Dehli (1739), we get a good sarangi. But he does describe Ghulam
Were these ‘violins’ Whereas the majority of instrumentalists entertained their guests. Yet genre had already found its admirers idea of how music flourished in Delhi, just Mohammad, a renowned sarangi maestro,
sarangis or kamanchas? When we have seen that Zafar Khan among the urban elite. He adds that khayal after the city had been invaded and sacked who was known far and wide. The author
did sarangi players actually serving at Akbar’s court were of Persian also talks about Agra at the singers preferred the accompaniment by Nadir Shah, the ruler of Persia. The writes: “He is a master of melody and
migrate to the cities and descent, at the time of Shah Jahan the reverse time of Shah Jahan and makes of an improved rabab which, besides its author, Dargah Quli Khan Bahadur, gives has specialised in playing sad and serious
settle down as professional a convincing reference to the traditional six gut strings, had another six or a vivid description of over 50 musicians, ragas with deep feeling. Not a single
musicians? To answer these was true. Most of the instrumentalists sarangi, although it is not clear twelve strings of copper or iron. Paintings dancers and actors, many of whom served musician can play sarangi like him, so
questions, we will have to described in the Ragadarpan played in which context it was used. from the period reveal the same. A large, at the court of Muhammad Shah. The profound is his training. His fingernails
go back in time and try It is known that Shah Jahan sophisticated rabab often figured as the foremost among them was Niamat Khan move gently and effortlessly along the
to understand what was indigenous instruments such as bin, was not only a lover of female main instrument of a small ensemble, and Binkar. Dargah Quli Khan writes: “In sarangi strings. He casts magic on every
happening in the field of music sarangi and pakhawaj. beauty but, like his illustrious only in the next century would the sarangi Hindustan the presence of Niamat Khan musical sitting he attends. All musicians
during this period. ancestors, a genuine admirer gradually take its place. It is questionable, is a blessing from heaven (niamat). In the and listeners of Delhi agree that he has no
Although Abu’l Fazl describes the cymbals). The kanchanis often figure in of the fine arts and a noted instrumentalist therefore, whether singers specialising art of creating music and songs, his work equal. Everybody respects him; he is a very
sarangi, names of sarangi players have the paintings from Akbar’s reign, but himself. Manucci writes: “...his usual in khayal were accompanied by sarangi is incomparable. Famous courtesans boast modest and unpretentious man who likes
been omitted from the list of prominent nowhere have we been able to recognise diversion was to listen to various players at the time of Shah Jahan. of their association with him, and he is everyone.”
musicians of Akbar’s court. Nor does a sarangi player. On rare occasions we can instruments, to verses and poetry; and he Gradually, khayal rose in prominence. a master of presenting delicate khayals
he mention them as accompanists of distinguish a ghichak player as part of the was very fond of musicians...” Faquirullah “Khayal composition of the new type,” through music. He is a capable man; he This article first appeared in its entirety in
female singers and dancers (kanchanis) chamber orchestra, and it is known that at completes the picture when he says: “At writes A. Halim, “started during the reign has written works on various subjects in the monograph, The Voice of the Sarangi,
who frequented his court. Instead, least two such musicians were employed at the time when Akbarabad (Agra) became of Bahadur Shah ... Niamat Khan, son several different languages. But at this published as a combined issue of the
he informs us that these enchanting Akbar’s court. Like his grandfather, Babur, the capital (of the Pathans and Mughals) of Narmul Khan, who assumed the pen time, as music master, he is the leader of all NCPA Quarterly Journal in September,
ladies were usually accompanied by the the Emperor was presumably more in the melody makers of the time assembled name of Sadarang, composed under royal the musicians of Delhi, and he is so proud December 1986 and March 1987 (Volumes
ALAMY

rabab, pakhawaj and tala (a pair of small favour of Persian than Indian instruments. there from all corners of the world. Even patronage khayals, dhrupads and horis ... that except for the Badshah, he does not XV & XVI, Issues 3, 4 & 1).

54 • August 2024 NCPA NCPA August 2024 • 55

Programme Guide (Programmes are subject to change. Please check the website and refer to our emails for updated information.) August 2024
THEATRE INTERNATIONAL MUSIC DANCE MULTI ARTS & PRESENTATIONS

INDIAN MUSIC WESTERN CLASSICAL MUSIC FILMS / SCREENINGS PHOTOGRAPHY & EXHIBITION

will present select compositions

Don Juan spanning varied genres of Indian
Four Last Songs music.
Ein Heldenleben
2nd August
One of the world’s most celebrated Umakant Gundecha and
Autumn 2024 Season conductors, Zubin Mehta takes the Anant Gundecha
stage yet again with the Symphony dhrupad and dhamar
Patron: Citi India Orchestra of India for an evening of
music by Richard Strauss, best known Sanjeev Abhyankar
An NCPA and Mehli Mehta Music for his tone poems and operas. khayal, haveli sangeet and
Foundation Presentation The maestro will also conduct Ein Sanskrit pad
Heldenleben and this will be an India Tata Theatre
Saturday, 17th August – 6.00 pm premiere for this symphonic poem.
Sunday, 18th August – 6.00 pm Four Last Songs will be sung by Trained under dhrupad maestros Zia
Jamshed Bhabha Theatre Krassimira Stoyanova, one of the Mohiuddin and Zia Fariduddin Dagar,
most sought-after sopranos of our Umakant Gundecha has behind him
Zubin Mehta, conductor time.
Chen Reiss, soprano
Tickets:
An evening of music by Johann Strauss II `17,000, 15,000, 12,000, 9,000,
6000, 3,000 & 1,500/-
Overture to Die Fledermaus (Inclusive of GST)
Annen-polka, Op. 117 Friends of the SOI receive a
Wiener Blut, Op. 354 (‘Viennese Blood’) 10% discount on one ticket per
Tritsch-Tratsch-Polka, Op. 214 programme for Maestro Zubin
Csárdás from Die Fledermaus Mehta’s concerts in the SOI Autumn
Overture to Der Zigeunerbaron 2024 Season.
Morgenblätter, Op. 279 Box Office now open Umakant & Anant Gundecha, 2nd, Tata Theatre
Frühlingsstimmen, Op. 410
(‘Voices of Spring’)
Kaiser-Walzer, Op. 437 (‘Emperor Waltz’) INDIAN MUSIC

Internationally renowned, Mumbai-born NCPA-HSBC Bandish: A

conductor Zubin Mehta returns to lead Tribute to Legendary
the Symphony Orchestra of India with Composers
the delightful music of Johann Strauss II. Tata Theatre & Jamshed Bhabha Theatre
To bring these memorable pieces to life, Friday, 2nd to Sunday, 4th – 6.30 pm
we have soprano soloist Chen Reiss,
acclaimed to be ‘one of the most perfect Supported by HSBC India
Strauss voices one could wish for’.
Indian music centres around the well- Sanjeev Abhyankar, 2nd, Tata Theatre
Saturday, 24th August – 6.00 pm structured melodic and rhythmic
Sunday, 25th August – 6.00 pm composition known as bandish. A an illustrious four-decade-long career
Jamshed Bhabha Theatre bandish represents a central idea or as a vocalist and guru of the Dagarvani
base upon which the edifice of a dhrupad.
Zubin Mehta, conductor performance is sculpted and realised. In this recital, Umakant Gundecha
Krassimira Stoyanova, soprano This three-day festival will showcase and his nephew and disciple, Anant
some of the most treasured works Gundecha, will present some
An evening of music by Richard Strauss by composers from pre- and post- compositions by fabled composers,
independence India. Eminent artistes such as Swami Haridas and his

56 • August 2024 NCPA

eminent disciples, Tansen and Baiju. 4th August
Sanjeev Abhyankar has had the Compositions of
privilege of training with Jasraj, the Naushad Ali & Madan
inimitable maestro of the Mewati Mohan
gharana. Continuing in his mentor’s Curated and presented by
style, his repertoire includes renditions Uttam Singh
of classical as well as devotional music. Singers: Vibhavari Apte Joshi,
He will present select compositions Anwesshaa, Smita Adhikary,
created by his guru, Jasraj, from across Hrishikesh Ranade & Rajesh Panwar Hrishikesh Ranade, 4th,
the genres of khayal, haveli sangeet and Compère: Yunus Khan Jamshed Bhabha Theatre
Sanskrit pad. Film music
Jamshed Bhabha Theatre
Tickets:
`720, 540 & 360/- (Members)
`800, 600 & 400/-(Public)
(Inclusive of GST)

3rd August
Malini Awasthi
thumri, dadra, kajri, chaiti, sawan
and jhoola Rajesh Panwar, 4th, Jamshed Bhabha Theatre
Tata Theatre

Uttam Singh, 4th, Jamshed Bhabha Theatre

Yunus Khan, 4th, Jamshed Bhabha Theatre

Having arranged over 15,000 songs

Malini Awasthi, 3rd, Tata Theatre over the last six decades, Uttam
Vibhavari Apte Joshi, 4th, Singh has a multidimensional musical
Trained under the inimitable diva of Jamshed Bhabha Theatre personality: he is an accomplished
the Banaras gharana, Girija Devi, Malini violinist and music arranger, a well-
Awasthi is known for her contribution known music director and composer
to semi-classical and folk genres. With and a skilled recordist for many
an impressive career, which includes Bollywood films.
playback singing for films, she has a Curated by Singh, the presentation
wide repertoire of forms from various will include the musical works of two
regions including Banaras and Awadh, stalwarts, Naushad Ali (1919-2006) and
and has sung in Awadhi, Bhojpuri and Madan Mohan (1924-1975), with both
other dialects. of whom Singh had the privilege of
Her presentation will include a working closely.
bouquet of semi-classical and folk Anwesshaa, 4th, Jamshed Bhabha Theatre Five singers, well-versed in
music compositions like thumri, dadra, performing for films, will present a
kajri, chaiti, sawan, jhoola, etc., created selection of unforgettable melodies
by some noted poets/composers of composed by the two legends. They
the Banaras region, namely, Bharatendu, will be accompanied by an orchestra
Ramprasad Mishra (Ramuji), Sajile and of over 40 instrumentalists.
Chhabile. These compositions are in the
Kashika dialect, which is spoken in and Tickets:
around Banaras. `1,800, 1,440, 1,080, 810 & 540/-
(Members)
Tickets: `2,000, 1,600, 1,200, 900 & 600/-
Rs.540, 450 & 360/- (Members) (Public)
Rs.600, 500 & 400/- (Public) (Inclusive of GST)
(Inclusive of GST) Smita Adhikary, 4th, Jamshed Bhabha Theatre Box Office now open

58 • August 2024 NCPA

INTERNATIONAL MUSIC famous and influential work and The play’s kaleidoscopic structure
changed permanently the acceptable touches on an array of themes
levels of violence, deviant behaviour such as memory atrophy, privacy
and sexuality shown in American erosion, alienation from the self and
films. the decay of genuine emotion.
Through its experimental form
Director: Alfred Hitchcock and astute observations, Love and
Screenplay: Joseph Stefano Information speaks directly to the
Based on a story by Robert Bloch way we make meaning of our lives
Cinematography: John L. Russell when there is a problem of too much
Music by Bernard Herrmann information.
Cast: Anthony Perkins, Vera Miles,
John Gavin & Janet Leigh Playwright: Caryl Churchill
Director: Mohit Takalkar
Psycho, 2nd, Little Theatre Admission on a first-come-first- Cast: Ashish Mehta, Dusha, Kashish
served basis. NCPA Members will Saluja, Lovleen Misra, Mahesh
Movies Under the Stars get preferential seating till 6.20 pm. Saini, Mallika Singh Hanspal, Mohit
Psycho (1960) Solanki, Mrinmayee Godbole,
Film Screening THEATRE Prajesh Kashyap, Rachel Dsouza,
(B&W – 109 mins) Rytasha Rathore & Siddhesh Dhuri
Little Theatre
Friday, 2nd – 6.30 pm Age: 18+

NCPA in association with Film Tickets:

Heritage Foundation under license `900, 720 & 450/- (Members)
from Jonetsu Entertainment (India) `1,000, 800 & 500/- (Public)
(Plus GST)
Psycho, produced and directed by Love and Information, 2nd to 4th, Box Office now open
Alfred Hitchcock in 1960, blends Experimental Theatre
suspense with the trajectories MULTI ARTS & PRESENTATION
of characters struggling in their Love and Information
relationships. It received cautious English/ Hindi/ Marathi (120 mins)
critical acclaim in its time and is still a Experimental Theatre
riveting, if difficult, movie to watch. Friday, 2nd – 7.30 pm
Psycho is a story that revolves Saturday & Sunday, 3rd & 4th –
around Marion Crane (Janet Leigh), 3.30 pm & 7.30 pm
a secretary based in Phoenix, Arizona,
who absconds with $40,000 from An NCPA Production in association
her employer’s client and makes a with Aasakta Kalamanch, Pune
run to California to be with her lover
Sam Loomis (John Gavin). Along How do we look at ourselves
the way, tired and caught in a storm, and others? How do we make Mapping of Mumbai, 3rd, Little Theatre
Marion takes a room at the Bates connections? How do we love? These
Motel, where she meets the owner/ are some of the questions posed by Page to Stage
manager, Norman Bates (Anthony Caryl Churchill’s Love and Information, a “Mapping of Mumbai – Revisiting
Perkins), a shy, but friendly young play written in 2012, which challenges the City through Verse/Prose”
man who lives nearby in a large house traditional theatrical norms with its (60 mins)
with his domineering mother. While unconventional structure. Comprising Book Reading & Discussion
showering, Marion is crudely slashed over 50 scenes in seven sections, the Little Theatre
to death by Norman’s mother. Marion’s play follows a non-linear narrative Saturday, 3rd – 6.30 pm
sister Lila (Vera Miles) becomes and is devoid of central characters,
concerned upon not hearing from her emphasising the cumulative impact An NCPA Library Presentation in
and goes looking for her with a private of many short scenes, their length collaboration with Dr. Babasaheb
investigator (Martin Balsam). Marion’s varying from seconds to minutes. Ambedkar International Research
lover is also involved in investigating The vignettes mirror the rapid pace Centre, University of Mumbai and
her disappearance, eventually coming of channel-hopping or scrolling Metamorphosis Theatre and Films
across the Bates Motel. through social media, highlighting the
Psycho was seen as a departure potential implications for relationships Mapping of Mumbai is a literary
from Hitchcock’s previous film, North in an era dominated by instant odyssey that delves into the soul
by Northwest. It is arguably his most gratification and short attention spans. of India’s bustling financial capital,

NCPA August 2024 • 59

Mumbai. This book invites readers on have their own opinions about it, but WESTERN CLASSICAL MUSIC
an enchanting voyage through a rich we won’t delve much into their opinions
range of verse and prose, where words because this is my show, and I think you Talks on Western
become a vibrant palette with which should come for it and decide for yourself” Classical Music
to paint the city’s physical, cultural - Sonali Little Theatre
and spiritual landscape. As the pages Tuesday, 6th – 5.00 pm
unfold, the reader is transported Born and bred in Mumbai, Sonali
into the hearts and minds of resilient Thakker has been performing stand- An NCPA Presentation
Mumbaikars, each narrating their up routines for the last 10 years,
unique experiences and dreams. with shows to her credit all over the Grieg: Holberg Suite
This collection captures the spirit of country, including smaller cities,
Mumbai and dynamic variety of its and twice (so far) at the Melbourne In this series of talks on Western
residents. International Comedy Festival as part classical music, Dr. Cavas Bilimoria
The reading is designed by of their Comedy Zone Asia line-up. takes listeners through musical
Dr. Omkar Bhatkar, Artistic Director concepts, the lives of composers and
of Metamorphosis Theatre and Films. Strictly above 18 years their famous works, interspersed with
For the last 10 years, he has been examples of recorded music. The
exploring poetry as performance and Tickets: first talk explores the Holberg Suite,
has been able to create an aesthetic `449/- (Members) a set of short pieces composed by
sensibility which is at the crossroads `499/- (Public) Edvard Grieg to mark the 200th birth
of theatre, dance, film and poetry. Box Office now open anniversary of noted Norwegian
This presentation will witness a playwright Ludwig Holberg. Subtitled
commingling of varied art forms to WESTERN CLASSICAL MUSIC Suite in the Olden Style, the work
bring selected pieces from the book to flourishes in the Baroque style but is
life onstage. The Bombay Chamber imbued with Romanticism. The great
Orchestra reception of the original piano version
Entry free on a first-come-first- Gloria and The Beatles prompted Grieg to adapt it for a string
served basis. Tata Theatre orchestra.
Please register on Sunday, 4th – 6.30 pm
www.bookmyshow.com Entry free
The Bombay Chamber Orchestra Admission on a first-come-first-
THEATRE Society presents an entertaining served basis.
evening of choral music with the
Cathedral Choir. The programme FILM
includes Giacomo Puccini’s
powerful and vibrant masterpiece Short Film Corner
Messa di Gloria and a medley of Short Film Screenings
popular songs by The Beatles. The Little Theatre
performance will be conducted Wednesday, 7th – 6.30 pm
by the up-and-coming German
conductor Tobias Drewelius. An NCPA Presentation in collaboration
Winner of the inaugural Erich Bergel with White Wall Screenings
Conducting Competition in 2022, Tobias
Drewelius, 35, has wide experience Many wonderful short films are being
Sonali Thakker, 3rd, Godrej Dance Theatre in conducting several European made in India. Filmmakers are at work
orchestras including the Stuttgart in their own regions, devising bold,
Perfect Role Model Chamber Orchestra, the Deutsche new ways to experiment with form
by Sonali Thakker Staatsphilharmonie Rheinland-Pfalz and technique. Short Film Corner
Stand-up Comedy and the Filharmonica de Stat Târgu hopes to be a showcase for these films
English/Hindi (70 mins) Mureş. Concert tours have taken him to and open a dialogue between the
Godrej Dance Theatre China, Japan and South Africa. In 2016- filmmakers and their audiences.
Saturday, 3rd – 8.00 pm 17, he spent eight months in Ecuador
with the organisation Musicians Without Ek Kadam
An NCPA Off-Stage Presentation in Borders. Hindi Film (21 mins)
collaboration with Comedy Wagon
Tickets: Anuradha Solanki is a middle-aged,
“I always thought I should be treated like a `990, 810 & 585/- (Members) submissive housewife who has,
star” - Madonna `1,100, 900 & 650/- (Public) for many years, not stepped out of
“I think I’ve been a perfect role model to (Inclusive of GST) her house without her husband,
society, family and friends. Of course, they Box Office now open Mahendra Solanki. But things change

60 • August 2024 NCPA

when Mahendra has an accident and served basis. NCPA Members will
fractures a leg. Now Anuradha must get preferential seating till 6.20 pm.
go out alone. At first, she is nervous
and scared of making mistakes. Will MULTI ARTS & PRESENTATION
she eventually regain her confidence
and rediscover her lost self? Page to Stage
‘Boodhi Kaki: Whispers of an Old
Directed by Rajeev Upadhyay Soul’ by Munshi Premchand
Book Reading (50 mins)
5 Star Little Theatre
Hindi Film (17 mins) Thursday, 8th – 6.30 pm

An NCPA Library Presentation in

collaboration with Chandrasheela
Arts

Aditi Mangaldas, 9th, Jamshed Bhabha Theatre

‘Boodhi Kaki’, Munshi Premchand’s
poignant short story, is about elder extensive training under renowned
neglect and the yearning for dignity gurus of Kathak, Kumudini Lakhia
and respect felt by those in their and Birju Maharaj, Mangaldas is
twilight years. Boodhi Kaki is the recognised for the artistry, technique,
5 Star, 7th, Little Theatre central character whose emotional and eloquence and energy that mark
psychological suffering is emblematic her every performance. Besides
A cab driver affiliated with a ride- of all that the elderly face when they dancing and choreographing classical
hailing service is struggling to are treated as burdens. The dramatised productions, both solo and group,
maintain good ratings at his job. He reading incorporates the perspectives she has broken new ground by using
accepts a ride request from Shraddha, of various family members and her knowledge and experience of
who is taking her grandmother, a villagers, creating a multi-faceted Kathak as a springboard to evolve
patient of dementia, to a hospice. The view of societal attitudes towards the a contemporary dance vocabulary,
journey leads to a series of events and aged. By emphasising empathy and infused with the spirit of the classical.
heartbreaking revelations. moral responsibility, Boodhi Kaki is a She was nominated for Outstanding
plea for compassion and respect for Female Performance (classical) for The
Directed by Rohit R Chauhan the aged to prevail within families and Critics’ Circle National Dance Awards
communities. 2017. Her recent work Forbidden, co-
Halfway The story adaptation, crafted by commissioned by the NCPA and
English Film (9 mins) Ashutosh Bawiskar, will be presented premiered at the Jamshed Bhabha
by Akshay Dandekar, Ashutosh Theatre, won her a nomination
Bawiskar, Geeta Bandhekar and under Outstanding Female Modern
Shakuntala Nare. Conceptualised by Performance at The Critics’ Circle
Sachin Shirke. National Dance Awards 2023. She
heads the Aditi Mangaldas Dance
Entry free on a first-come-first- Company – The Drishtikon Dance
served basis. Foundation.
Please register on ‘LOST … in the forest!’—from
www.bookmyshow.com concept to choreography, presentation
and filming—came about during the
DANCE pandemic in 2021 and comprises two
Halfway, 7th, Little Theatre works—Naav Mein Nadiya (River in the
LOST... in the forest! Boat) and Chhan Chhan…Chhip Chhip
When together, they are a fractious Kathak & Contemporary (Now Seen…Now Not). The online
couple. But now, man and wife find by Aditi Mangaldas premiere of the work, conceptualised,
themselves at opposing entrances Jamshed Bhabha Theatre danced and choreographed by
of Juhu beach and are compelled to Friday, 9th – 6.30 pm Mangaldas, was held in 2021.
walk towards each other and meet
halfway—in more senses than one. An NCPA Presentation Tickets:
`630, 450 & 270/- (Members)
Directed by Kumar Chheda Aditi Mangaldas is a leading dancer `700, 500 & 300/- (Public)
and choreographer in the classical (Inclusive of GST)
Admission on a first-come-first- Indian dance form of Kathak. With Box Office now open

NCPA August 2024 • 61

INDIAN MUSIC industry. She has a specific interest in lifetime, and his works remain staples
artiste rights, and in her effort to build in the repertory of most of the world’s
more awareness and drive change, opera companies. Each of the three
she regularly conducts workshops to acts of La Rondine evokes a different
train industry stakeholders in rights aspect of French life, as well as a
management and the nuances of different take on the nature of love.
copyright and licensing. Her podcast, Act I is set in Magda’s elegant salon;
Lex Talk Music, is regarded one of India’s Act II is set in the raucous Bal Bullier,
first to be dedicated to the business of a famous Latin Quarter dance hall;
the Indian music industry. and Act III is set outside Nice on the
French Riviera. The Met’s current,
For registration visit art deco­ inspired production places
www.ncpamumbai.com or call on the action in the 1920s. The score
022-66223754 of La Rondine is sophisticated
and economical—and entirely
SCREENING engrossing. It flows with the sort of
Sandhya Surendran, 10th, Online melody that could only come from
Puccini, including the dreamy dance
NCPA-HSBC Workshop sequences in Act II and the ensemble
Copyrights and Performer Rights in in the same scene, ‘Bevo al tuo fresco
Indian Classical Music sorriso’ as well as the opera’s most
A free online workshop on Zoom by famous aria, Act I’s ‘Chi il bel sogno di
Sandhya Surendran Doretta’.
(Approx. 60 mins followed by Q&A
session) Conductor: Sperenza Scappucci
Saturday, 10th – 11.00 am Cast: Angel Blue, Emily Pogorelk,
La Rondine, 10th, Godrej Dance Theatre Jonathan Telelman & Bekhzod
Supported by HSBC, India Davronov
La Rondine
Like in any vocation, performing by Giacomo Puccini Tickets:
artistes also need to be aware of the Opera Screening `450/- (Members)
legal and ethical aspects associated (Approx. 155 mins) `500/- (Public)
with their profession. Godrej Dance Theatre Box Office now open
With a specific focus on Indian Saturday, 10th – 4.00 pm
classical (art) music, this workshop is THEATRE
aimed at exploring the intricacies of An NCPA-The Metropolitan Opera
copyright and performer rights, dealing (New York) Presentation One On One Dhamaal
with key issues like composition rights, English/Hindi (120 mins)
recordings and specific performer’s Initially conceived as an operetta Tata Theatre
rights associated with musical before receiving the full operatic Saturday, 10th – 7.00 pm
performances. treatment, this bittersweet love
A discussion will be held on copyright story is the least-known work of An NCPA Presentation in
as specifically applied to features of the mature Giacomo Puccini, collaboration with Rage Productions
Indian music like ragas, compositions largely due to the circumstances of
and lyrics, and the distinction between its premiere: Italy and Austria had A collage of modern India, One On One
traditional and new compositions. become enemies during World War Dhamaal is a unique theatrical evening
Issues, such as rights related to I, precluding a Vienna premiere, that brings together Mumbai’s finest
recording and broadcasting (live and and the opera quietly opened in a actors in works written by some of
through media), will also be discussed. neutral Monte Carlo, never finding a India’s most talented playwrights
Participants will gain insights into permanent place in the repertoire. and helmed by a line-up of our best-
managing and enforcing these rights, That loss is scandalous, since La known directors.
along with practical guidance through Rondine, judged on its own merits The themes and personae include
real-life case studies. rather than compared to other operas arranged marriages, marriages of
Sandhya Surendran, a media and with similar themes, is a fascinating convenience, resigned housewives,
entertainment lawyer, is a music and work—featuring an abundance of accommodating film producers,
film industry expert and has worked exuberant waltzes, a lightness of harassed ticket collectors and inedible
extensively with talent and production tone (particularly in the intoxicating airline food. These nine monologues in
as legal counsel, besides acting as a first two acts) and a romantic vision English and Hindi convey amusement,
legal advisor to media publications and of Paris and the south of France. annoyance and concern about what it
tech start-ups in the entertainment Puccini was immensely popular in his is like to live in India today.

62 • August 2024 NCPA

I’m Every Woman TC Rasbihari
English (13 mins) Hindi (13 mins)

A confused wife, non-committal Rasbihari ko gussa kyona ata hai? Ticket

daughter, guilt-ridden mother, not-so- collector Rasbihari gets slapped. He
dutiful daughter-in-law. What if they has been slapped many times before,
all happen to be the same person? but this time, he is upset because it
was not his fault.
Written by Ayeesha Menon
Directed by Faezeh Jalali Written by Ashok Mishra
Performed by Shivani Tanksale Directed by Rajit Kapur Shikha Talsania, 10th, Tata Theatre
Performed by Gagandev Riar
Kachre Ki Hifazat the past, present and future of their
Hindi (15 mins) Dear Richard relationship.
English (10 mins)
Written by Sumeet Vyas
An angry and fatigued passenger Directed by Puja Sarup
writes an open letter to the owner of Performed by Shikha Talsania
Virgin Atlantic on insufferable airline
food. Khoon, Pasina…Action!
Hindi/ English (14 mins)
Written by Oliver Beale
Adapted by Nadir Khan & Akarsh A day in the life of a first-time producer
Khurana on a big-budget Bollywood film. How
Performed by Rajit Kapur should he play this game—dance
to everyone else’s tune? Or will he
Game, Set(ing) And emerge the hero?
Rajit Kapur, 10th, Tata Theatre Match
English (14 mins) Written by Ashish Jagtiani
A chief minister dies mysteriously—an Directed by Akarsh Khurana
amusing retelling of his bodyguard’s An American desi boy is invited to Performed by Sumeet Vyas
woes. India to meet a prospective bride, but
the investment climate looks much Suggested age: 10+
Written by Ashok Mishra more interesting.
Directed & performed by Rajit Kapur Tickets:
Written by Farhad Sorabjee `2,700, 2,250, 1,800, 1,080, 900, 720
Job Interview Directed by Rajit Kapur & 450/- (Members)
English (8 mins) Performed by Vrajesh Hirjee `3,000, 2,500, 2,000, 1,200, 1,000,
800 & 500/- (Public)
A Parsi gentleman with failing Dulhaniya (Plus GST)
eyesight attends an interview for an Hindi/ English (14 mins) Box Office now open
airline pilot’s job. The stakes are high.
His nerves are shot. Gurpreet is getting ready to wed THEATRE
her boyfriend of seven years. As the
Adapted & directed by time of the ceremony nears, she
Rahul da Cunha begins to question everything about
Performed by Sohrab Ardeshir

Keeda Saala
Hinglish (10 mins)

A junior artiste in Hindi films talks Janpat Bijnor, 11th, Godrej Dance Theatre
about growing up in Bombay’s
notorious neighbourhood of Dongri. Janpad Bijnor
Hindustani Play (80 mins)
Written and directed by Godrej Dance Theatre
Rahul da Cunha Sunday, 11th – 4.00 pm & 7.00 pm
Performed by Zafar Karachiwala
An NCPA Presentation in
For Adults Only Sumeet Vyas, 10th, Tata Theatre collaboration with Afsana Theatre

NCPA August 2024 • 63

 In this montage of three stories from workshop which will be conducted by
the heart of Bijnor, we listen to the Petrina Kow, Budi Miller and Mallika
narrator reminisce about his little Prasad Sinha.
village, revealing its many facets.
‘Hawa’ is the story of a newlywed Entry by invitation
bride, who becomes the talk of the
town for bizarre reasons. She finds a DANCE
way to deflate the endless gossip, but
only time will tell how effective her A Perspective –
strategy is. Drishtikon
The whole town backs down before Bharatanatyam lecture-
the infamous ‘Fakko Ka Murga’ and demonstration
his deadly peck. Little does Fakko Malavika Sarukkai, 11th, Tata Theatre by Malavika Sarukkai
know that this winged friend, her only Little Theatre
companion in a solitary life, will bring five decades. She is also proficient Monday, 12th – 6.30 pm
her much distress. in Odissi which she learnt from
In ‘Totaa Udd, Maina Udd’, the Kelucharan Mohapatra and Ramani On the occasion of the 60th
youngest of three daughters is sent Ranjan Jena. Sarukkai has performed anniversary of the Museum
to her sister’s marital home after her at major dance festivals in India and Society of Mumbai, the Society, in
wedding day. She sees, hears and abroad. She is a recipient of senior collaboration with the NCPA and
experiences much that is as yet beyond fellowships and production grants with generous support from the
her ken. Her reactions are naïve, but her from the Department of Culture, K.V. Mariwala Philanthropy Initiative,
instincts are in the right place. Government of India, for creating new has launched a new programme, A
The stories are rewarding for the work and extending the repertoire. Perspective – Drishtikon, to promote
way they point to much that remains She has choreographed and the diverse classical dances of India
unsaid, desires never uttered because performed solo thematic productions through a series of engaging lecture
of intolerance, conditioning or lack of and has received several awards, demonstrations. The inaugural
opportunity. What stays unspoken has notably the Padma Shri, Sangeet session of this initiative will be led by
to be read between the lines. Natak Akademi Award, Kalaimamani, Malavika Sarukkai, a widely acclaimed
Nrithya Choodamani (Sree Krishna Bharatanatyam exponent.
Writer: Asif Hussain Gana Sabha), the Mrinalini Sarabhai Malavika Sarukkai was trained in
Directed by Jitender Singh Award and the Raza Award for the Bharatanatyam by Kalyanasundaram,
Cast: Shumaila, Kanchan, Manjiri, Arts, among others. S. K. Rajarathnam and Kalanidhi
Barkha & Jitender In Search presents choreographies Narayanan and has been
Lights: Vikrant Thakar & in the language of classical dance that performing for more than five
Ram Saidpure dare us to experience a love that is decades. She is also proficient in Odissi
Production: Yash Khan & Rohit Thapa intense and ephemeral. Ancient myths which she learnt from Kelucharan
re-enter our world as we inquire what Mohapatra and Ramani Ranjan Jena.
Suggested age: 15+ it is to ‘see’. Despite the diminishing She has performed at major dance
presence of sacred spaces, the deep festivals in India and abroad. She
Tickets: calling of the spirit rises through dance is a recipient of senior fellowships
`450/- (Members) in our fragile, disharmonious world. and production grants from the
`500/- (Public) Department of Culture, Government
Box Office now open Tickets: of India, for creating new work and
`360, 270 & 180/- (Members) extending the repertoire. She has
DANCE `400, 300 & 200/- (Public) choreographed and performed solo
Box Office now open thematic productions. Sarukkai has
In Search received several awards, notably
Bharatanatyam MULTI ARTS & PRESENTATION the Padma Shri, Sangeet Natak
by Malavika Sarukkai Akademi Award, Kalaimamani, Nrithya
Tata Theatre Breathe with Us! Choodamani (Sree Krishna Gana
Sunday, 11th – 5.00 pm by Fitzmaurice Voicework India Sabha), the Mrinalini Sarabhai Award
International Voice Workshop and the Raza Award for the Arts,
An NCPA Presentation Dilip Piramal Art Gallery among others.
Monday, 12th to Saturday, 17th The Museum Society of Mumbai
Malavika Sarukkai has (break on 15th August) – was founded in 1963 to promote
trained in Bharatanatyam with 10.00 am to 5.00 pm public interest in the Chhatrapati
Kalyanasundaram, S. K. Rajarathnam Shivaji Maharaj Vastu Sangrahalaya and
and Kalanidhi Narayanan and has The Fitzmaurice Voice Institute has cultivate in the public an appreciation
been performing for more than organised a five-day intensive voice for art and culture. Through the

64 • August 2024 NCPA

years, the society has been a highly Michael Sheen plays Aneurin ‘Nye’
respected and dynamic organisation. Bevan in this surreal and spectacular
Its band of devoted volunteers assist journey through the life and legacy
in a variety of activities, which include of the man who transformed Britain’s
holding lectures by scholars of renown, welfare state. From campaigning at
guided visits to significant historical the coalfield to leading the battle to
and cultural sites and seminars and create the National Health Service,
workshops on topics related to Bevan is often referred to as the
culture and history. The society also politician with the greatest influence
offers programmes suitably tailored over the UK without ever being Prime
for school and college students, Minister.
those with disabilities, people from In Nye, confronted with death,
underprivileged backgrounds and Bevan’s deepest memories lead him
others. on a mind-bending journey through
his life; from childhood to mining
Entry free on a first-come-first- Rahul Deshpande, 13th, Tata Theatre underground, the Parliament and
served basis. fights with Churchill.
present classical and semi-classical
INDIAN MUSIC compositions and timeless raga- Written by Tim Price and directed
based Hindi film songs to evoke the by Rufus Norris (Small Island), this
Madhurya divine essence of Krishna. epic piece of theatre is a new Welsh
Singers: Priyanka Barve, The poetry contained in these fantasia.
Rahul Deshpande compositions is replete with shringara
Kathak: Shalmali Zankar rasa and is remarkable for its warm and Tickets:
Compère: Sunil Deodhar poignant devotionalism. `450/- (Members)
(100 mins) Kathak dancer Shalmali Zankar will `500/- (Public)
Tata Theatre dance to the lyrics of two songs. Box Office now open
Tuesday, 13th – 6.30 pm Sunil Deodhar will present a short
commentary on the songs. MULTI ARTS & PRESENTATION
Presented by The combination of poetry in music
Sahachari Foundation Events and movement promises to create an The Joyful Journey of my
Co-sponsors: Kotak unforgettable experience, true to the Writing!
Kerf spirit of Krishna. With the celebrated Marathi author
Pravin Davane
This is a thematic concert in Tickets: Little Theatre
celebration of Krishna and the festival `720, 540, 360 & 180/- (Members) Wednesday, 14th – 6.30 pm
of Janmashtami (his birth), featuring `800, 600, 400 & 200/- (Public)
renowned vocalists Priyanka Barve (Inclusive of GST) An NCPA Library Presentation
(who plays the role of Anarkali in the Box Office now open
musical Mughal-e-Azam) and Rahul Over the last 50 years, Pravin Davane
Deshpande (vocalist and grandson SCREENING has been consistently crafting literary
of Vasantrao Deshpande). They will works, becoming a beloved figure
among readers. To celebrate the
release of his two new books, Ek Patra
Aiche! (A Letter from Mother) and
Viraahart (The Sorrow of Separation),

Nye, 14th, Godrej Dance Theatre

Nye
A new play by Tim Price
Theatre Screening
Godrej Dance Theatre
Wednesday, 14th – 6.00 pm

An NCPA-National Theatre Live Ek Patra Aiche by Pravin Davane,

Priyanka Barve, 13th, Tata Theatre (London) Presentation 14th, Little Theatre

NCPA August 2024 • 65

 Surekha Sikri
Directed by Atul Mathur
Cast: Priita Mathur Thakur, Aman
Gupta, Shankar Iyer, Atul Mathur,
Ashish Saleem, Rhea Khaund &
others

An Ank Theatre Group Production

Tickets:
`540/- (Members)
`600/- (Public)
Bawa vs Gujju, 15th, Tata Theatre (Inclusive of GST)
Box Office now open
him more Parsi or does he succeed in
making her more Gujarati? DANCE

Written and directed by Meherzad August Dance Residency

Viraahart by Pravin Davane, 14th, Little Theatre Patel 2024
Cast: Danesh Irani, Azmin Mistry, 21st & 22nd August
well-known communicator Siddharth Pheroza Modi & others
Deshpande will engage in a An NCPA Presentation
conversation with Davane to discover A Silly Point Production
how the author creates poems and The artistic heritage we take pride in
songs, the influence of his favourite Tickets: has been handed down to us over
poets and the intricate process behind `1,800, 1,350, 1,080, 900, 720, 630, generations by stalwarts of classical
the writing of his newly published 450 & 315/- (Members) dance. These gurus have kept alive
book. This 90-minute interview will `2,000, 1,500, 1,200, 1,000, 800, the rich culture, sacred texts and
bring to the fore for the audience the 700, 500 & 350/- (Public) knowledge of dance through their
significance of poetry and literature (Inclusive of GST) dance institutions. The August Dance
and all that goes into producing it. Box Office now open Residency, hosted by the NCPA, seeks
Join us at the Little Theatre Foyer to celebrate premier dance institutions
at 6.00 pm for tea and thereafter, a THEATRE that have been the torchbearers for
conversation with the author. classical Indian dance.
Beewion Ka Madarsa As part of the residency this year, the
Entry free on a first-come-first- Hindi Play (120 mins) NCPA has invited Kerala Kalamandalam,
served basis. Godrej Dance Theatre a premier public institution preserving
Please register on Sunday, 18th – 6.30 pm the artistic heritage of Kerala. The event
www.bookmyshow.com will feature a workshop and lecture-
This adaptation of Molière’s 14th- demonstration by senior artistes and
THEATRE century classic L’École des femmes or faculty members under the leadership
The School for Wives is by Balraj Pandit of the curators (Kalamandalam M. P. S.
Bawa vs Gujju and Surekha Sikri. Namboodiri and Dr. M. V. Narayanan)
Inspired by and adapted from the Haneef Mohammed did not marry followed by a performance.
works of Adi Marzban in the firm belief that all women are Kerala Kalamandalam is a revered
Parsi Gujarati Play (100 mins) dishonest and cheat on their husbands. institution that stands as a beacon of
Tata Theatre Upon reflection, he decides to custom- traditional arts in India, particularly in
Thursday, 15th – 5.00 pm & 7.30 pm make his bride. The beautiful Husnara Kerala. Founded in 1930 by renowned
is now 16 and Mohammed’s plans to poet Vallathol Narayana Menon and
An NCPA Presentation for the Adi marry her are underway when he is his close friend and art afficionado,
Marzban Endowment Fund rudely interrupted by the discovery Mukundaraja, Kalamandalam has
(5.00 pm show) that the fruits of his labour may just been instrumental in preserving and
fall into another’s lap. Mohammed, propagating the rich cultural heritage
Marrying within the community is with the advantage of age, experience of Kerala, especially in the domains of
no small matter among the Parsis. and money—and doubtfully devoted Kathakali, Mohiniattam, Kutiyattam, Thullal
So, when a stubborn hot-headed servants to boot—meticulously sets and various other traditional art forms.
Parsi woman in her 40s decides to out to outwit the young competitor for Kalamandalam M. P. S.
get married to a happy-go-lucky, Husnara’s affections. Namboodiri is an exponent of
bumbling Gujarati man in his 30s, Kathakali and an academic. He joined
one question arises: does she make Written by Balraj Pandit & Kerala Kalamandalam as a Kathakali

66 • August 2024 NCPA

student in 1956 and retired as Principal. the Kathakali dance form. SCREENING
He was reappointed Dean of the
Department of Kathakali when the Registration fees: `500/-
institution was upgraded to a deemed For details regarding registration
university. He has also served as a of the workshop, please call:
visiting professor at the University of 8879114939 / 8879313834 or email:
California (UCLA) and the University mdsouza@ncpamumbai.com /
of Wisconsin in the United States. ashetty@ncpamumbai.com
He has published several articles on
Kathakali in English and Malayalam and Lecture-demonstration
co-authored the book Kathakaliyute on Kathakali
Rangapatacharithram (The History of Sea View Room
the Performative Language of Kathakali) Wednesday, 21st August – 4.00 pm
with renowned cultural critic and to 5.00 pm
Kathakali scholar, Killimangalam
Vasudevan Namboodirippad. He has Participants will gain insights into the
received several awards including the dance form of Kathakali and its various
Sangeet Natak Akademi Award and elements.
the Kerala Kalamandalam Mukundaraja
Smruthi Award. Entry free. For details regarding
Dr. M. V. Narayanan is a prominent registration of the workshop, please
Indian scholar in cultural and call: 8879114939 / 8879313834 or Fleabag, 21st, Godrej Dance Theatre
performance studies. After obtaining email: mdsouza@ncpamumbai.com
his PhD from the University of Exeter, / ashetty@ncpamumbai.com Fleabag
UK, he taught at the University of Theatre Screening
Sharjah, Miyazaki International College Subhadraharanam (Approx. 100 mins)
in Japan and University of Calicut by Kerala Kalamandalam Godrej Dance Theatre
and has been a Fellow at the Indian Experimental Theatre Wednesday, 21st – 6.00 pm
Institute of Advanced Study, Shimla. Thursday, 22nd – 6.30 pm
Later, he served as the Vice Chancellor An NCPA-National Theatre Live
at Sree Sankaracharya University of (London) Presentation
Sanskrit and Kerala Kalamandalam
(deemed to be University for Art & Fleabag is a rip-roaring look at
Culture). Narayanan’s major areas a woman living her sort of life.
of research and publication are Fleabag may seem oversexed,
theatre and performance studies, emotionally unfiltered and
traditional Indian performance self-obsessed, but that is just
and cultural studies. His book the tip of the iceberg. With
Space, Time and Ways of Seeing: The family and friendships under strain
Performance Culture of Kutiyattam and a constant struggle to keep
was published by Routledge in Subhadraharanam, 22nd, Experimental Theatre a guinea pig café afloat, Fleabag
2022. He has also contributed to suddenly finds that she has nothing
the book, Performing the Ramayana Kerala Kalamandalam will present to lose.
Tradition: Enactments, Interpretations, one of the most intricate
and Arguments (Oxford University and challenging stories, Written and performed by Phoebe
Press, 2021). He has done extensive ‘Subhadraharanam’, from the Waller-Bridge
documentation of the performing arts Kathakali repertoire. This episode, Directed by Vicky Jones
in Kerala in association with UNESCO, featuring Arjuna’s wedding to
C-DIT and Vedika. Krishna’s sister Subhadra and later Age: 15+
developments in Dwarka, is derived
Workshop on Kathakali from the Mahabharata and is well- Tickets:
by Kerala Kalamandalam known for its theatricality. The `450/- (Members)
Sea View Room presentation will be accompanied by `500/- (Public)
Wednesday, 21st – 11.00 am to subtitles to enable the audience to Box Office now open
2.00 pm enjoy the story and narration.
MULTI ARTS & PRESENTATION
MATT HUMPHREY (FLEABAG)

As part of the August Dance Tickets:

Residency, Kerala Kalamandalam will `270 & 180/- (Members) “The Seven Queens”
hold a workshop where participants `300 & 200/- (Public) Sindhi Folktales Retold
will learn about the finer nuances of Box Office now open by Menka Shivdasani (60 mins)

NCPA August 2024 • 67

 Please register on her presentation lend high aesthetic
www.bookmyshow.com quality to her performance.
This performance will feature various
INDIAN MUSIC musical forms—from khayal to thumri
and bhajan—exploring some common
threads as well as distinguishing traits
of the artistic creations that convey
the outpourings of Krishna’s ardent
devotees, Radha, Meera and others.

Tickets:
`360 & 270/- (Members)
`400 & 300/- (Public)
Box Office: 26th July for Members &
29th July for Public

WESTERN CLASSICAL MUSIC

The Singing Tree

Children’s Choral Music Concert
The Seven Queens, 21st, Little Theatre Tata Theatre
Friday, 23rd – 7.30 pm
Little Theatre
Wednesday, 21st – 6.30 pm The Mehli Mehta Music Foundation
Sawani Shende, 23rd, Experimental Theatre will present Beyond Boundaries, a
The NCPA Library Presentation in choral concert with over 200 students
collaboration with Million Dollar Shyam Rang: Celebrating participating from the Foundation’s
Confidence the Legend of Krishna Singing Tree choirs, the Udayachal
by Sawani Shende & group High School and students from schools
A unique storytelling event titled Experimental Theatre run by the Aseema Charitable Trust.
‘The Seven Queens’ offers a retelling Friday, 23rd – 6.30 pm The Foundation is delighted that the
of Sindhi folktales by Menka Ulmer Spatzen Choir from Germany
Shivdasani. These poetic dialogues, An NCPA Presentation will be part of the performances this
written in English, delve into the tragic Supported by Rukmani & Kishan year. The concerts are the culmination
romances immortalised by Sindhi Sufi Daiya Foundation of intensive training by the conductors
poet Shah Abdul Latif Bhittai in Shah of the Foundation’s Singing Tree
Jo Risalo. With Janmashtami only a few days choirs, Khursheed Printer and Rohini
Menka Shivdasani is an away, we present Shyam Rang to Basu, and the Choral Director of the
accomplished poet with four celebrate Krishna, “the dark one”, Ulmer Spatzen Choir, Salome Rebello.
published collections in English to through music. A substantial Students will perform a range of music,
her name. She has edited repertoire of Indian vocal music has both classical and contemporary.
anthologies of women’s writing and poetic content based on the amorous
contemporary poetry, and Sindhi exploits of Krishna, the cowherd of Tickets:
poetry by Mohan Gehani. Shivdasani Brindavan. Several compositions are `675 & 495/- (Members)
has co-translated Freedom and Fissures: also dedicated to devotional and `750 & 550/- (Public)
An Anthology of Sindhi Partition Poetry. philosophical thoughts associated (Plus GST)
Writing apart, she co-founded the with his divine love. Box Office: 9th August for Members
Poetry Circle in Mumbai in 1986 and Sawani Shende hails from a & 12th August for Public
has organised annual festivals for the musically trained family. She was
global movement ‘100 Thousand mentored by her grandmother Kusum INTERNATIONAL MUSIC
Poets for Change’ for 12 years. Shende, her father Dr. Sanjeev Shende
Currently, she serves as the Co-Chair and Dr. Veena Sahasrabuddhe, the Con Brio 2024 – Wonder
of Asia-Pacific Writers & Translators well-known exponent of the Gwalior Years
(APWT). gharana. Besides being recognised Experimental Theatre
These stories from Sindh promise to for her aesthetic portrayal of raga Monday, 26th to Thursday, 29th
be a moving exploration of love and in the pure classical tradition, she August - 6.30 pm
loss. also displays equal skill in presenting
semi-classical and light music genres, An NCPA & Furtados Presentation
Entry free on a first-come-first- including some devotional forms. The
served basis. clarity of diction and the sensitivity in Con Brio is back with its 14th

68 • August 2024 NCPA

edition, featuring three competition by Antonio Vivaldi for the solo violin
categories: Piano, Violin, and Voice. accompanied by strings. Up next, the
The four-day festival will present Voice Finals will take centre stage.
works by iconic Western classical The Violin Semifinals will follow after
composers who wrote them in their an interlude of Gioachino Rossini’s
youth, a period that brims with vitality Variations for Clarinet and Piano. Day 2
and marks their artistic origins. will end with Manuel de Falla’s ‘Danse
Espagnole’, presented by six hands on
Day 1 – Voice Semifinals: one piano.
The Americas
Monday, 26th – 6.30 pm Day 3 – Violin Finals and
Piano Semifinals: Eastern
and Western Europe Con Brio - Piano Finals, 29th,
Wednesday, 28th – 6.30 pm Experimental Theatre

performance of Sergei Rachmaninoff’s

Trio élégiaque, a piece he composed
at the age of 17 while mourning the
demise of his mentor Pyotr Ilyich
Tchaikovsky. Selections from Britten’s
Con Brio - Voice Semifinals, 26th, On This Island for tenor and piano, and
Experimental Theatre Ralph Vaughan Williams’s Songs of
Travel for baritone and piano will
The festival will commence with follow. The festival will have a thrilling
two duets: Ned Rorem’s Psalm for Con Brio - Violin Finals & Piano Semifinals, finale.
Countertenor and Piano and Amy 28th, Experimental Theatre
Beach’s Romance for Violin and Piano. Daily Tickets:
The duets will make way for the Voice Day 3 will begin with the String `810/- (Members)
Semifinals, which will be followed by Quartet by Franz Schubert, who `900/- (Public)
Clocks — A Piano Quintet by Miguel composed it at the age of 18, followed (Inclusive of GST)
del Águila that evokes an imaginary by the Motet for Soprano and Strings Box Office now open
visit to a clock museum. This will be by Wolfgang Amadeus Mozart,
followed by compositions arranged written by the composer at the age WESTERN CLASSICAL MUSIC
for two pianos by George Gershwin of 16. The day will continue with the
and Astor Piazzola. The evening will Violin Finals and Piano Semifinals. Talks on Western
conclude with the Con Brio Vocal Next, a Johannes Brahms duet for Classical Music
Ensemble presenting a selection of soprano and baritone—a work Little Theatre
choral works by American composers. where he emulated the style of his Wednesday, 28th – 5.00 pm
predecessor Felix Mendelssohn—will
Day 2 – Voice Finals be presented. Day 3 will conclude An NCPA Presentation
and Violin Semifinals: with Francis Poulenc’s Rapsodie nègre,
Southern Europe a satirical work featuring the clarinet, The Music of Chopin
Tuesday, 27th – 6.30 pm flute, mezzo soprano, piano and string
quartet. The second talk in August will be
Day 2 will begin with an early concerto about Frédéric Chopin. Born in
Day 4 – Piano Finals: 1810 in Poland, the composer and
Northern Europe and pianist left for Paris before the
Russia impending revolution in 1830, where
Thursday, 29th – 6.30 pm he spent the rest of the 19 years of
his life. Known as the ‘Polish Mozart’,
Day 4 will commence with the Con he was admired by many, including
Brio Vocal Ensemble singing two a Franz Liszt and Robert Schumann.
cappella hymns by Benjamin Britten Dr. Cavas Bilimoria insists that no
and Arvo Pärt. Piano Finals will composer other than Chopin has
follow. After an intermezzo by written music for the piano that is as
Edvard Grieg for the cello and joyful, melodious and dramatic.
piano, a miniature violin-cello duet
composed by Jean Sibelius at 10, Entry free
Con Brio - Voice Finals & Violin Semifinals, titled Water Droplets, will be Admission on a first-come-first-
27th, Experimental Theatre presented. Next, there will be a served basis.

NCPA August 2024 • 69

FILM Sailesh enter into the realms of magic
realism. They scrutinise the eventful
Reality Check past that Praklawn and Sailesh have
Documentary Film Screening had and their debate on the men’s
Little Theatre lives throws open a Pandora’s box of
Thursday, 29th – 6.30 pm questions about the very nature of our
reality.
An NCPA Presentation in
collaboration with Cinema Director: Prince Shah
Collective Cinematographer: Vaibhav Sorte
Editors: Ashish Ranglani, Prince Shah
The Reality Check film series promotes Music Composer: Ashish Kumar Jaiswal, 30th,
and encourages documentary Prassanna Vishwanathan Godrej Dance Theatre
filmmakers in India whose work Sound: Tarun Bhandari
reflects life and culture in the country Producers: Anshul Pandey,
today in a provocative blend of Prince Shah
creativity and integrity.
The film screening will be followed
Moon on the Man by a discussion.
English, Hindi, Marathi, Manipuri
Film with English Subtitles Admission on a first-come-first-
(78 mins) served basis. NCPA Members will
get preferential seating till 6.20 pm.

INDIAN MUSIC

NCPA Citi Promising

Artistes Series
Ashish Kumar Jaiswal (dhrupad)
Sawani Shikhare (khayal)
(Approx. 90 mins)
Godrej Dance Theatre Sawani Shikhare, 30th, Godrej Dance Theatre
Friday, 30th – 6.30 pm
the aesthetics of padas in Hindustani
Moon on the Man, 29th, Little Theatre Supported by Citi classical music for a doctoral degree.
Sawani Shikhare had her initial
A mind-bending trip featuring A talented young vocalist of training from Manjusha Patil, a noted
India’s youngest freedom fighter, dhrupad of the Dagar bani and an vocalist of the Gwalior gharana.
Guru Dutt, and Ian Fleming in accomplished vocalist of ‘charpat Since 2017, she has been a shishya
a feature-length documentary, ki gayaki’ of the Banaras gharana, of Ulhas Kashalkar under the ‘NCPA
Moon on the Man questions reality, Ashish Kumar Jaiswal is a Citi Support to Gurus Tradition’
perception and choices through the shishya of Ritwik Sanyal under programme. Shikhare, who started
afflux of time. the ‘NCPA Citi Support to Gurus her musical journey at the age of
What is the consequence of Tradition’ programme. Born in 10, has since performed several
narrating stories we unthinkingly Varanasi, Jaiswal first trained musical forms, including abhangas,
believe in, stories that never actually with Narayan Das Chakraborty, a natyasangeet, bhavgeet and bhajans.
occurred? What happens if our well-known musician of the She has completed her master’s in
perception determines our reality Senia gharana and later with Anup music from Bharati Vidyapeeth in Pune,
rather than the contrary? What Mishra, a noted vocalist of the Banaras Maharashtra.
must a man do if the past is only gharana. Having established himself
a story he tells himself and history as a khayal vocalist, Jaiswal then Registration starts from 30th July
merely a recollection of such stories? trained in dhrupad from Sanyal in 2024 on www.bookmyshow.com
The documentary explores the guru-shishya parampara. He is a Entry free on a first-come-first-
fundamental questions of reality, graded artiste of All India Radio, has served basis.
perception and choices. It looks at the performed at various concerts and
life experiences and daily activities of festivals all over India and has been a THEATRE
two eccentric personalities, Praklawn recipient of several scholarships and
and Sailesh. This narrative is annexed fellowships. Jaiswal has a master’s JAYA – A Rock Musical of
by Aasif and Wadood at a juncture degree in music from Banaras Hindu the Mahabharata
when the stories of Praklawn and University and completed research on English (120 mins)

70 • August 2024 NCPA

Jamshed Bhabha Theatre Tickets: their pop-style beats into a jazzy
Saturday, 31st August and Sunday, `4,500, 4,050, 3,600, 3,150, 2,700, groove.
1st September – 4.00 pm & 7.30 pm 2,250, 1,800, 1,350, 1,125, 900 & 450/-
(Members) Tickets:
JAYA, an English-language rock musical `5,000, 4,500, 4,000, 3,500, 3,000, `675 & 450/- (Members)
based on the Mahabharata, is produced 2,500, 2,000, 1,500, 1,250, 1,000 & `750 & 500/- (Public)
and directed by the acclaimed theatre 500/- (Public) (Plus GST)
director Lillete Dubey, and presents (Inclusive of GST) Box Office now open
the major events of our favourite epic in Box Office now open
an exciting, contemporary and visually MULTI ARTS & PRESENTATION
stunning manner. INTERNATIONAL MUSIC
The lights are by the globally renowned Page to Stage
designer of Nrityagram Dance Ensemble, The Timeless Tales of William
Lynne Fernandez; sets by the skilled Fali Shakespeare
Unwalla and costumes by the London- (60 mins)
trained Pallavi Patel. The lead roles Little Theatre
will be played by singer-musician-actor Saturday, 31st – 6.30 pm
Sherrin Varghese, founding member
of A Band of Boys; Megan Murray, a An NCPA Library Presentation
musical theatre actress who has lent
vocals to Grammy-nominated blues Prepare to be transported to the
queen Shemekia Copeland’s album timeless world of William Shakespeare
Done Come Too Far; and 2Blue, a rocker for an evening of eloquence. This
who has performed with Iron Maiden event is a grand celebration of the
and Guns N’ Roses, among others. The Bard’s unparalleled contribution to
cast also includes Vikrant Chaturvedi, Dominique Cerejo, 31st, Experimental Theatre literature and theatre, featuring a
a veteran of stage and screen and the reading of his most powerful and
multi-talented Asif Ali Beg from the web A Twist of Jazz with evocative monologues.
series Trial by Fire and Scam 1992 – The Dominique Cerejo Our talented ensemble of readers will
Harshad Mehta Story. The production will Experimental Theatre delve into the depths of Shakespeare’s
feature vocalists Keshia B, Sid Makkar, Saturday, 31st – 6.30 pm characters, capturing a breathtaking
Varun Narayan, Ujjayinee Roy and range of emotions from the tragic to
Danny Sura. An original music score by An NCPA Presentation the comic with eloquent speeches from
the multi-dimensional musician, arranger iconic plays, such as Hamlet, Macbeth,
and composer Ashutosh Phatak Dominique Cerejo, vocals Othello and many more. Each monologue
has been specially composed with Anurag Naidu, keyboard has been meticulously selected to
lyrics by Sandeep Kanjilal along with Geet Gupta, bass highlight the versatility and enduring
choreographed Kalaripayattu sequences Arjun Chakraborty, drums relevance of Shakespeare’s work.
by the Kalari guru Arpit Singh and Jarryd Rodrigues, saxophone Whether you are a lifelong
Kathak by Pooja Pant. aficionado of Shakespeare or
This musical uses a dramatic Sensational jazz and blues artiste discovering his genius for the first time,
montage style to present the main Dominique Cerejo graces our stage come and experience the magic of his
events of the epic through the eyes with her staggering presence. Cerejo words. Our passionate storytellers,
of Yudhishthira, the eldest of the has collaborated with established and Deepa Raghavan, Deepa Panchal,
Pandava brothers, holding up for prominent composers and artistes such Dipankar Chatterjee, Mohammad
examination his experiments with as A. R. Rahman, Shankar-Ehsaan-Loy Mobin, Ninad Kulkarni, Rohan
truth against Duryodhana’s faith in and Salim-Sulaiman. Gangawane, Jerestine Landers,
victory at any cost and Karna’s fatalism. A winner of the Upcoming Female Smita Shetty, Munira Shah, Nitin
A universal tale brought alive for the 21st Vocalist of the Year Award at the first- Sharma, Pooja Gupta, Richie
century. ever Mirchi Music Awards by Radio Agarwal, Lavita Kamat, Vivek
Mirchi, Cerejo now brings her talent Anand, Monika Mhatre, Dinesh
Produced & directed by Lillete Dubey to the NCPA, where she takes her Gadgil and Abhishek Revankar,
Writer: Sandeep Kanjilal audience on an interactive journey will breathe new life into these classic
Cast: Megan Murray, 2Blue, Vikrant of interpreting pop music in a jazz texts, creating a captivating and
Chaturvedi, Asif Ali Beg, Sherrin context. She has, at her disposal, an contemporary setting.
Varghese, Varun Narayan & others incredible band to help her enhance
your evening. She will prove it Entry free on a first-come-first-
A Primetime Theatre Co. Production is possible to add pizzazz to the served basis.
modernity of songs such as Coldplay’s Please register on
Age: 10+ ‘Yellow’ and Sting’s ‘Fragile’, turning www.bookmyshow.com

NCPA August 2024 • 71

What’s Next September & October 2024
(Programmes are subject to change. Please check the website and refer to our emails for updated information.)

INTERNATIONAL MUSIC (Plus GST) foreign ships. Temporary marriages for

Box Office now open foreign sailors were not unusual. Puccini
achieved a new level of sophistication
SCREENING with his use of the orchestra in this
score, with subtle colourings and
sonorities throughout. But the opera
rests squarely on the performer of
the title role: Onstage for most of the
time, Cio-Cio-San is the only character
that experiences true (and tragic)
development. The singer must convey
Madama Butterfly, 7th September, an astounding array of emotions and
Godrej Dance Theatre characteristics—from ethereal to fleshly
Shrae, 6th September, Experimental Theatre to intelligent to dreamy-bordering-on-
Madama Butterfly insane to resigned in the final scene.
Planet Indie by Giacomo Puccini
Shrae & The Quartet Life Crisis Opera Screening Conductor: Xian Zhang
Experimental Theatre (Approx. 180 mins) Cast: Asmik Grigorian, Elizabeth De
Friday, 6th September – 7.00 pm Godrej Dance Theatre Shong, Jonathan Tetelman & Lucas
Saturday, 7th September – 4.00 pm Meacham
An NCPA Presentation
An NCPA-The Metropolitan Opera Tickets:
Shrae, vocals (New York) Presentation `450/- (Members)
Anurag Naidu, piano `500/- (Public)
Shivang Kapadia, drums The title character of Madama Box Office: 9th August for Members
Samarth Talia, bass Butterfly—a young Japanese geisha & 12th August for Public
Raunak Upadhyay, guitar who clings to the belief that her
arrangement with a visiting American DANCE
Shrae is a Mumbai-based singer- naval officer is a loving and permanent
songwriter, educator and performer marriage—is one of the defining roles Bharatanatyam
who draws inspiration from jazz, R&B, in opera. The story triggers ideas about by Adithya P. V.
neo soul and old school pop. She cultural and sexual imperialism for and
is an obsessive jazz enthusiast who people far removed from the opera Kuchipudi
incorporates its standards into her house. Film, Broadway and popular by T. Reddi Lakshmi
own songs. This gig is a reflection of culture in general have riffed endlessly Godrej Dance Theatre
her musical journey and influences, on it. The lyrical beauty of Puccini’s score, Friday, 13th September – 6.30 pm
arranged in a quartet format for a very especially the music for the thoroughly
special show at the NCPA. believable lead role, has made Butterfly An NCPA Presentation
Shrae’s music features appealing timeless. Giacomo Puccini was
lyrics and easy choruses, allowing immensely popular in his own lifetime, Adithya P. V. is a dynamic young
the audience to hear its different and his mature works remain staples Bharatanatyam dancer, who was
components and connect with her, in the repertory of most of the world’s initially under the tutelage of Latha
even sing along. She is one of the most opera companies. The opera takes place Edavalath before continuing with
relatable independent artistes on the in the Japanese port city of Nagasaki at the internationally acclaimed dance
current music scene. the turn of the last century, at a time duo, the Kirans. Adithya is currently a
of America’s expanding international student of veteran dancer Dr. Sudharani
Tickets: presence. Japan was hesitantly defining Raghupathy. He has been praised
`675 & 450/- (Members) its global role and Nagasaki was one for his strong grasp of talam, subtle
`750 & 500/- (Public) of the country’s few ports open to abhinaya and technical excellence.

72 • August 2024 NCPA

He holds a diploma in Bharatanatyam (Inclusive of GST) title from Sur Singar Samsad, Mumbai,
from Indira Kala Sangit Vishwavidyalaya, Finals: Deba Prasad Dash Memorial Fellowship
Chhattisgarh. A graded artiste of `7,500, 5,000, 4,000, 3,000, 2,000, and is an empanelled artiste of the ICCR.
Doordarshan, Adithya has performed 1,000 & 500/- Shashwati Garai Ghosh is a leading
solo and in collaboration with several (Inclusive of GST) Odissi dancer who has carved a niche in
leading dancers from India and abroad 10% discount on tickets for Friends her field. She is the seniormost disciple
at various festivals around the world. of the SOI and NCPA Members. of internationally acclaimed dancer
He is an artistic director at the Upadhye Box Office: 6th August for Friends and choreographer Sharmila Biswas
School of Dance. of the SOI, 9th August for NCPA with whom she has been associated
T. Reddi Lakshmi is an established Members & 12th August for Public since 1999. Ghosh is a recipient of the
Kuchipudi artiste who has trained with Guru Kelucharan Mohapatra Yuva
eminent Kuchipudi gurus, Padmashri DANCE Pratibha Samman and Ustad Bismillah
Jayarama and Vanashree Rao, for over Khan Yuva Puraskar, among other
20 years. She has received the Young honours. In Kolkata, she runs her own
Dancer Scholarship from Sahitya Odissi dance institute, Angashuddhi –
Kala Parishad, New Delhi, the Indira Home for Odishi. She has performed at
Priyadarshini and Nritya Shiromani prestigious festivals and venues in India
awards. She is an empanelled artiste of and abroad and regularly conducts
the Indian Council for Cultural Relations workshops for schools and institutes
(ICCR), SPICMACAY and a graded artiste across the country.
of Doordarshan. She is the founder
of the Nritya Vahini Academy of Mahati Kannan, 21st September, Tickets:
Performing Arts and has performed at Godrej Dance Theatre `180/- (Members)
prestigious venues in India and abroad. `200/- (Public)
Bharatanatyam Box Office: 9th August for Members
Tickets: by Mahati Kannan & 12th August for Public
`180/- (Members) and
`200/- (Public) Odissi SCREENING
Box Office: 9th August for Members by Madhusmita Mohanty &
& 12th August for Public Shashwati Garai Ghosh
Godrej Dance Theatre
WESTERN CLASSICAL MUSIC Saturday, 21st September – 5.00 pm

Operalia 2024 An NCPA Presentation

Semifinals
Tuesday, 17th September – 4.00 pm Born into a family of musicians and
Finals dancers—she is the grandniece of
Saturday, 21st September – 6.00 pm noted Bharatanatyam exponent Padma Prima Facie, 25th September,
Jamshed Bhabha Theatre Subrahmanyam—Mahati Kannan is Godrej Dance Theatre
an excellent artiste in her own right. She
Founded by world-renowned tenor has a master’s in art history from the Prima Facie
Plácido Domingo in 1993, Operalia, one National Museum Institute, New Delhi, Theatre Screening
of the world’s most respected musical which has added to her perceptions and (Approx. 125 mins)
competitions, has been instrumental in opened new possibilities for applying Godrej Dance Theatre
discovering and launching the careers that knowledge to dance. Wednesday, 25th September – 6.00 pm
of promising young opera singers. Rolex A dancer characterised by supple
presents the 2024 edition of Operalia, and graceful body movements, An NCPA-National Theatre Live
hosted for the first time in India by the Madhusmita Mohanty’s expressions (London) Presentation
NCPA, Mumbai. and footwork synchronise to create
While the semifinals are carried an aesthetically rewarding experience. Jodie Comer’s (Killing Eve) Olivier- and
out in audition form, the finals will be Initiated into Odissi at the tender age Tony Award-winning performance in
presented in the form of a gala concert of six, she became an accomplished Suzie Miller’s gripping one-woman
with the Symphony Orchestra of dancer under the Orissa Dance play returns for the ongoing season of
India under the baton of Maestro Academy and is now a senior teacher NT Live screenings.
Plácido Domingo and will culminate and Assistant Director of the institution. Tessa is a young and brilliant barrister.
with the announcement of the 2024 She has performed within the country She has worked her way up from
HELEN MURRAY (PRIMA FACIE)

winner. and abroad, including at the Orissa working-class origins to be at the top
Society of Americas Convention, USA. of her profession; defending, cross-
Tickets: Mohanty is a recipient of the Ustad examining and winning. An unexpected
Semifinals: Bismillah Khan Yuva Puraskar, Senior event forces her to confront the lines
`1,500, 1,000 & 500/- National Scholarship, the Sringarmani where the patriarchal power of the law,

NCPA August 2024 • 73

 burden of proof and morals diverge. melodies are Amar Bhatt, Gargi Vora,
Prima Facie takes us to a place where Upagna Pandya and Praher Vora.
emotion and experience collide with
the rules of the game. Tickets:
Justin Martin directs this solo tour `450, 315 & 225/- (Members)
de force, captured live from the intimate `500, 350 & 250/- (Public)
Harold Pinter Theatre in London’s West Box Office: 26th August for Members
End. & 29th August for Public
Louiz Banks, 28th September, Tata Theatre
Written by Suzie Miller INDIAN MUSIC
Directed by Justin Martin edition, featuring some of the finest
pianists and keyboard players in the
The Empire Street Production country and from abroad. Curated by
the NCPA and Louiz Banks, and covering
Content Advisory: Contains sensitive all genres from jazz, funk to classical, this
subject matter including references is an evening not to be missed.
to sex, violence and rape.
Kaushiki Chakraborty, 27th September, Tickets:
Age: 18+ Tata Theatre `1,350, 1,080, 900 & 720/- (Members)
`1,500, 1,200, 1,000 & 800/- (Public)
Tickets: Songs of Divinity (Plus GST)
`450/- (Members) Tata Theatre Box Office: 26th July for Members &
`500/- (Public) Friday, 27th September – 6.30 pm 29th July for Public
Box Office: 26th August for Members
& 29th August for Public Presented by Sahachari Foundation THEATRE
Events
INDIAN MUSIC Supported by KERF Vhay, I am Savitribai Phule
Solo performance in English (120 mins)
Gamta No Kariye Gulal The bol or lyrics used in many Godrej Dance Theatre
Curated by Udayan Thakker compositions in Indian music often Saturday, 28th September – 7.00 pm
Singers: Amar Bhatt, Gargi Vora, describe the qualities and attributes of
Upagna Pandya and Praher Vora deities such as Krishna, Shiva, Ganapati, An NCPA Presentation
Special appearance: Utkarsh Saraswati and Durga, besides others.
Mazumdar and Hetal Modi Sometimes, the descriptions also allude Vhay, I am Savitribai Phule recounts the
(100 mins) to the spouse, animal mount or musical extraordinary life of a 19th-century
Tata Theatre instrument associated with the deity. trailblazer whose progressive ideas and
Thursday, 26th September – 6.30 pm In this thematic concert, Kaushiki actions defied the norms of her time.
Chakraborty will present several such Despite starting out illiterate, Savitribai,
An NCPA Presentation in association compositions on deities from the Hindu with the guidance of her husband
with Jasubhai Foundation and pantheon. The selection will include Jyotirao Phule, also known as Jyotiba,
Kilachand Foundation madhya laya (medium tempo) and drut became India’s first female teacher,
(fast tempo) compositions in classical championing women’s education and
Gujarat is rich in its literary, musical and and semi-classical genres. empowerment.
folk traditions. The devotional songs of Inspired by Jyotiba’s activism,
15th-century poet-saint Narsinh Mehta Tickets: Savitribai emerged as a dynamic leader,
and 16th-century mystic Meerabai are `900, 720, 540, 360 & 180/- managing orphanages, aiding the
enshrined in the collective consciousness (Members) needy during crises and speaking up for
of the people of this region. Poets like `1,000, 800, 600, 400 & 200/- (Public) the oppressed. Together, they founded
Dayaram (1777-1853) bring in romantic (Plus GST) the Satyashodhak Samaj, challenging
lyricism. The Ras-garbas of Nhanalal (1877- Box Office: 26th August for Members caste and gender inequalities.
1946) were a craze during his lifetime. & 29th August for Public Even after Jyotiba’s passing,
Kalapi (1874-1900) was among the early Savitribai continued their mission with
ghazal writers. Meghani (1896-1947) INTERNATIONAL MUSIC unwavering dedication. Their enduring
brought in the folk flavour. partnership and tireless work serve as
This concert presents some of Mumbai Piano Day a beacon of inspiration, shedding light
Gujarat’s evergreen songs. The Tata Theatre on contemporary societal issues and
selection highlights their variety and Saturday, 28th September – 6.30 pm offering valuable lessons for future
undiminished popularity. Singer-actors generations.
Utkarsh Mazumdar and Hetal Modi An NCPA Presentation
will present a song from juni rangbhumi Written & Directed by Sushama
with abhinaya. Capturing the timeless Mumbai Piano Day is back for its ninth Deshpande

74 • August 2024 NCPA

Performed by Nandita Patkar regrets, the unreliable nature of best- Box Office: 26th July for Members &
laid plans, the pros and cons of nostalgia 29th July for Public
Tickets: and the ones that got away.
`450/- (Members) THEATRE
`500/- (Public) Written and directed by
Box Office: 26th July for Members & Akarsh Khurana On popular demand
29th July for Public Cast: Adhaar Khurana, Garima Yajnik,
Kshitee Jog, Mallika Singh, Mantra & Twelve Angry Jurors
THEATRE Siddharth Kumar English Play (90 mins)
Produced and stage designed by Experimental Theatre
Kosheto (Cocoon) Saatvika Kantamneni Friday, 25th – 7.30 pm
Gujarati Play (75 mins) Costume Design by Pallavi Patel Saturday, 26th & Sunday, 27th
Godrej Dance Theatre Light Design by Akarsh Khurana October – 4.00 pm & 7.00 pm
Sunday, 29th September – 4.00 pm
& 7.00 pm Age: 16+ An NCPA Presentation in
collaboration with Rage Productions
An NCPA Presentation in Tickets:
collaboration with Utopia `1,350, 1080, 900, 720 & 450/- The play, based on the film that was
Communications (Members) adapted from Reginald Rose’s teleplay,
`1,500, 1,200, 1,000, 800 & 500/- Twelve Angry Men, begins with an
This is a story in which a Gujarati- (Public) 18-year-old boy from a slum who is
language researcher, battling cancer, (Plus GST) on trial for the murder of his abusive
explores the true power of poetry Box Office: 26th July for Members & father. A jury of 12 people is locked in
through the words of the legendary 29th July for Public the deliberation room to decide the
Gujarati poet Ramesh Parekh. It fate of the young boy. All evidence is
examines life, death, existentialism and INTERNATIONAL MUSIC against the boy and a guilty verdict
art in a musical and emotional way. It would send him to the electric chair.
is about the comfort and peace to be Converging Streams But the judgement must be unanimous.
found in beautifully crafted words. The Rajeev Raja Combine Even before they begin a discussion, it
Tata Theatre is apparent that most of the jurors are
Written by Manthan Joshi Sunday, 13th October – 6.30 pm certain the boy is guilty. While they
Directed by Pritesh Sodha have already decided on his fate, one
Cast: Sejal Pondaa, Priyam Jani, An NCPA Presentation vote of not guilty opens a Pandora’s box
Pooja Gami & others and forces a review. Slowly, but surely,
Music by Ojas Bhatt After the successful launch of their each member of the jury is persuaded
maiden album Cosmic Chant, described to confront the facts at hand, opening
Tickets: as one of the best jazz-fusion albums their minds to the possibilities that exist
`360/- (Members) recently, Rajeev Raja Combine starts its outside their purview and see the kind
`400/- (Public) next journey into new sonic frontiers. of person he or she actually is. Originally
Box Office: 26th July for Members The band emerges with a brand-new produced for Aadyam, an Aditya Birla
and 29th July for Public repertoire of original compositions, Group Initiative, this production of
inspired by the members’ collective Twelve Angry Jurors is presented by a
THEATRE influences and experiences over the special amateur license arrangement
past few years. The music pays tribute with Samuel French Ltd.
This Time to a cornucopia of musical forms, sub-
English & Hindi Play (120 mins) genres and cultural nuances that form Directed by Nadir Khan
Tata Theatre the universal fabric of jazz. Here is an Cast: Ajitesh Gupta, Deven Khote,
Sunday, 6th October – 6.00 pm organic and seamless fusion that blends Devika Shahani, Dipika Roy, Nikhil
elements of jazz, Indian classical, blues, Murali, Prerna Chawla, Rohit
An NCPA Presentation in funk, Latin and world music. Malkani, Shivani Tanksale, Shivani
collaboration with Akvarious RRC, as the band is popularly known, Vakil, Sohrab Ardeshir, Suresh
Productions is fronted by jazz fusion flautist and Venkat & Rajit Kapur
composer Rajeev Raja. He will be
Two decades after they broke up, Alisha accompanied by some of Mumbai’s Age: 10+
and Pranav are going to run into each best musicians who bring their skills in
other at a college reunion besides many different genres and musical idioms. Tickets:
other ‘old friends’ whom they are in `900,720 & 450/- (Members)
dread of meeting. Could this pleasant Tickets: `1,000, 800 & 500/- (Public)
stroll down memory lane turn into an `1,350, 900, 720 & 450/- (Members) (Plus GST)
unpleasant blast from the past? This `1,500, 1,000, 800 & 500/- (Public) Box Office: 26th July for Members &
Time is a comedy about growing up, (Plus GST) 29th July for Public

NCPA August 2024 • 75

 THEATRE DANCE

INDIAN MUSIC MULTI ARTS & PRESENTATIONS

INTERNATIONAL MUSIC FILMS / SCREENINGS

August 2024 WESTERN CLASSICAL MUSIC PHOTOGRAPHY & EXHIBITION

Day Date Time Event Venue Day Date Time Event Venue
NCPA-HSBC Bandish: NCPA-HSBC Workshop
A Tribute to Legendary Composers Sat 10th 11.00 am Copyrights and Performer Rights in Indian Classical Music Online
(2nd to 4th August) A free online workshop on Zoom by Sandhya Surendran
Umakant Gundecha and Anant Gundecha
La Rondine
dhrupad and dhamar
Fri 2nd 6.30 pm Sat 10th 4.00 pm by Giacomo Puccini
Sanjeev Abhyankar
Opera Screening
khayal, haveli sangeet and Sanskrit pad
Malini Awasthi One on One Dhamaal
Sat 3rd 6.30 pm Sat 10th 7.00 pm
thumri, dadra, kajri, chaiti, sawan and jhoola English/Hindi
Compositions of Naushad Ali & Madan Mohan 4.00 pm & Janpad Bijnor
Sun 11th
Curated and presented by Uttam Singh 7.00 pm Hindustani Play
Singers: Vibhavari Apte Joshi, Anwesshaa, Smita In Search
Sun 4th 6.30 pm Sun 11th 5.00 pm Bharatanatyam
Adhikary, Hrishikesh Ranade and Rajesh Panwar
by Malavika Sarukkai
Compère: Yunus Khan
Film music Mon
12th to
to Sat 10.00 am Breathe with Us!
Movies Under the Stars 17th
(break to by Fitzmaurice Voicework India
Fri 2nd 6.30 pm Psycho (1960) (break on
on 5.00 pm International Voice Workshop
Film Screening 15th)
Thu)
Fri 2nd 7.30 pm
Love and Information A Perspective - Drishtikon
Sat & 3rd & 3.30 pm & English/Hindi/Marathi Mon 12th 6.30 pm Bharatanatyam lecture-demonstration
Sun 4th 7.30 pm by Malavika Sarukkai
Page to Stage Madhurya
Sat 3rd 6.30 pm “Mapping of Mumbai - Revisiting the City through Verse/Prose” Singers: Priyanka Barve,
Book Reading & Discussion Tue 13th 6.30 pm Rahul Deshpande
Perfect Role Model Kathak: Shalmali Zankar
by Sonali Thakker Compère: Sunil Deodhar
Sat 3rd 8.00 pm
Stand-up Comedy
Nye
English/Hindi
Wed 14th 6.00 pm A new play by Time Price
The Bombay Chamber Orchestra Theatre Screening
Sun 4th 6.30 pm
Gloria and The Beatles
The Joyful Journey of My Writing!
Tue 6th 5.00 pm Talks on Western Classical Music Wed 14th 6.30 pm
With the celebrated Marathi author Pravin Davane
Short Film Corner Bawa vs Gujju
Wed 7th 6.30 pm 5.00 pm &
Short Film Screenings Thu 15th Inspired by and adapted from the works of Adi Marzban
7.30 pm
Page to Stage Parsi Gujarati Play
Thu 8th 6.30 pm ‘Boodhi Kaki: Whispers of an Old Soul’ by Munshi Premchand
Symphony Orchestra of India
Book Reading
An evening of music by
Sat & 17th &
LOST ... in the forest! 6.00 pm Johann Strauss II
Sun 18th
Fri 9th 6.30 pm Kathak & Contemporary Zubin Mehta, conductor
by Aditi Mangaldas Chen Reiss, soprano

76 • August 2024 NCPA NCPA August 2024 • 77

 Day Date Time Event Venue
Beewion Ka Madarsa
Sun 18th 6.30 pm
Hindi Play
August Dance Residency 2024
(21st & 22nd August)
11.00 am
Workshop on Kathakali by Sea View
Wed 21st to Room
Kerala Kalamandalam
2.00 pm
4.00 pm
Sea View
Wed 21st to Lecture-demonstration on Kathakali Room
5.00 pm
Subhadraharanam
Thu 22nd 6.30 pm
by Kerala Kalamandalam
Fleabag
Wed 21st 6.00 pm
Theatre Screening

“The Seven Queens”

Wed 21st 6.30 pm
Sindhi Folktales Retold by Menka Shivdasani

Shyam Rang: Celebrating the legend of Krishna

Fri 23rd 6.30 pm
by Sawani Shende & group

The Singing Tree

Fri 23rd 7.30 pm
Children’s Choral Music Concert

Symphony Orchestra of India

An evening of music by
Sat & 24th &
6.00 pm Richard Strauss
Sun 25th
Zubin Mehta, conductor
Krassimira Stoyanova, soprano
Mon to 26th to
6.30 pm Con Brio 2024 - Wonder Years
Thu 29th
Wed 28th 5.00 pm Talks on Western Classical Music

Reality Check
Thu 29th 6.30 pm
Documentary Film Screening

NCPA Citi Promising Artistes Series

Fri 30th 6.30 pm Ashish Kumar Jaiswal (dhrupad)
Sawani Shikhare (khayal)

Sat & 31st Aug & 4.00 pm & JAYA - A Rock Musical of the Mahabharata
Sun 1st Sep 7.30 pm English

A Twist of Jazz with

Sat 31st 6.30 pm
Dominique Cerejo

Page to Stage
Sat 31st 6.30 pm
The Timeless Tales of William Shakespeare

78 • August 2024 NCPA

 ALWAYS ON
This is the Perpetual rotor, Rolex’s automatic cannot escape it.Therefore, it rotates with the wearer’s
winding mechanism that enables the watch to be every gesture, and sways in one direction or the other.
constantly wound by the wrist ’s movement. The energy generated by these oscillations is
Invented by the brand and patented, it was transferred to the mainspring, which is continually
introduced in 1931. Since its inception, we have wound, through an innovative system comprised of
ceaselessly improved this groundbreaking reversing wheels and a gear train. Thus stored, the
innovation, which has brought the world of energy is released simultaneously to activate the
watchmaking into another dimension. In a constant movement, ultimately moving the hands of the watch.
state of unstable equilibrium, the half-moon Regularly. Precisely. For though we all seek balance,
oscillating weight is beholden to Earth’s gravity. It it is imbalance that drives us to move, perpetually.

#Perpetual

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