Stage all set for city’s future theatre icons

Last week a unique event happened on the Bombay Theatre scene — An exhibition opened celebrating Ebrahim Alkazi’s life in the theatre. This was unusual on many fronts.

First, rarely is there any documentation of the grand masters of Indian theatre. Secondly when there has been an exhibition, like Prithvi Theatre’s Habib Tanvir and Satyadev Dubey exhibitions, they were part of some other larger festival and often not in a venue that allows for a proper presentation of archival work.

The Alkazi exhibition is not only a brilliantly collected and in depth journey of the man and his methodologies, but it is also currently housed in the massive National Gallery of Modern Art as a stand-alone exhibition for six weeks. The entire building is dedicated to the exhibition — all four galleries, and a series of talks and discussion on him and his influence. In essence, Ebrahim Alkazi is the festival.

There is no doubt that this respect is due, but what makes people like Alkazi different from the rest Perhaps it is because people like Alkazi and Prithviraj Kapoor are connected to larger institutions, which elevates them from being mere theatre directors or producers to poster boys for the whole fraternity.

Although Prithviraj Kapoor didn’t actually ever work in the Prithvi Theatre venue, the building is an extension of the legacy of his touring theatre company; and like Alkazi, the building has not only promoted his own work, but been a stepping stone for thousands of others to become theatre-wallahs. They have been influencers of theatre not only through their directorial work, but also by providing a larger service to the theatre community.

All senior theatre directors, producers and group heads love the theatre deeply and their contribution to the form is beyond doubt. There is no other sphere that they would rather exist in. There is obstinacy, and a refusal to be bogged down by the harsh financial realities, and to continue to create new work.

This, in itself is inspiring. However with this tenacity to survive, also comes a degree of selfishness; where you put yourself and your group above everything else, resulting in little fiefdoms.

And while members of your group love you for it, you are viewed with a certain distance from other theatre companies.

Individuals, who are attached to academic institutions or venues, tend to be viewed as better representations of ‘theatre’ as a whole, over those who are only creating work. And maybe that’s why they are few and far between.

The interesting trend in today’s Bombay theatre scene is that there are a number of players rising up to support the ‘greater good’ of theatre.

Four new venues have come up, spearheaded by individuals who want to see more theatre happen: Nikhil Hemrajani of Sitara Studio, Sudeip Nair of Cuckoo Club & The Hive, Anuradha Parekh of G5A, and Bhavik Shah of CLAP. Similarly, Jehan Manekshaw has achieved the incredible by founding The Drama School Mumbai, which is already in its fourth year. As have Shernaz Patel & Rajit Kapoor with their successful Writers’ Bloc festival.

While it’s early days yet, there is no doubt that some of these names are likely to become the theatre icons of the future. Let’s just hope their triumphs are as well archived as Alkazi’s.

Exhibition picks September 23: Collecting Practices: An all-day seminar on Acting. October 8: A talk on The Scenorgaphy of E- Alkazi Sept 24, Oct 7, Oct 16: A curated walk through the exhibition with Amal Allana