Raising voice against intolerance

Mumbai Nights, an adaptation of Shakespeare’s Twelfth Night has reached another height of excellence in terms of its contemporariness and presentation. The sixteenth century romantic comedy, loaded with metatheatre and penned by Shakespeare, has been relocated into the heart of Mumbai of 2005 in such a way that the audience will definitely connect with the play. 

Credit goes to the young script writer Debasish who has earlier proved his maturity as a playwright in Kaankra, an adaptation of Jean Paul Sartre’s Les Sequestres d’Altona. The costume designing and the stage adornment are in complete sync with the pitch of the play. 

Modern day Viola, Cesario (in disguise as Viola), Duke Orsino, Lady Olivia, Malvolio etc brilliantly  matches in Huma, Billu (in disguise as Huma), Alishan, Ushnata and Tikka though the back drop has traversed a time line of more than 400 years. The demography has also shifted from an ancient region of Western Balkans to the metropolitan city of a developing country of the third world. The play depicts the changes we are withstanding – from test cricket to IPL, from dhunuchi dance to bar dance, from market to mall, from land line telephone to mobile phone and so on. Capitalism, influence of the underworld, coercion, nepotism, and mediocrity are remarkably entwined with unfeasible ambition, exploitation, barbaric pride, sexuality, and radicalism leading to terrorisation.

These so called principles and vices have been lucidly portrayed in the activities of the adapted characters, resembles a potboiler where it narrates the current threats encountered by the glamour world of India, Bollywood, which is an industry in itself. Bratya Basu has once again showed his immaculate precision in adding the current, sensitive issues satirically with romantic elements, and mingling it with comedy. 

Mumbai Nights is also an amazing journey in melody which will definitely sway the crowd with the modern day numbers. At the same time you will find provocative songs of the sixties of Bollywood, the old classics of Arabian Nights, and a live band as well. But, can the Bengali audience ever dream of a musical journey of a Bengali play without a Rabindra Sangeet? I am sure you all must be wondering as to how Rabindra Sangeet will fit into a play like this. This is where Mr Basu stands out in punching in and synchronising this in the play with magical perfection. 

The comical part sometimes supersedes the theatrical dramatics and pinches the conscience of the audience through the sub verses used in the text of the play. In one scene the actor says ‘when you are in the family you are called a joker but when you are in a film you are known as a comedian’. 

In another scene, the word ‘political’ is described as palti kal (means changing side too early  in Bengali). When asked about this, Mr Basu says, ‘Humour is such a characteristic of a soul that when it comes out, it strikes the other person with its lightning speed and leaves a permanent scar in one’s mind. I have tried to connect with the audience with the subtlety that exists in theatre. 

Theatre will continue to remain the medium of protest against the current incidents which are detrimental to the progress of the nation, rather the mankind.’ Mr. Basu’s uproarious edition of the Mumbai Nights will definitely leave behind very pertinent points which are very close to one’s heart, to ponder. At this critical limit of intolerance, on the threshold of a brand new political situation, it is a must watch for the audience. 

The inaugural show will be staged at Minerva Theatre on November 12, 2015 in Kolkata by Minerva Repertory Theatre.