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ON Stage
October 2018
volume 8 • issue 3
Rama Vaidyanathan
presents Vivartana
At the NCPA Nakshatra
Dance Festival
One World Many Musics Symphony Orchestra of India
Celebrating Artistic Plurality Snapshots from the Autumn 2018 Season
Cover Final.indd 1 19/09/18 2:31 PM
Contents
NCPA Chairman
Khushroo N. Suntook
Editorial Director
Radhakrishnan Nair
Editor-in-Chief
Oishani Mitra
Consulting Editors
Ekta Mohta
16
Vipasha Aloukik Pai
Editorial Co-ordinator
Hilda Darukhanawalla
Art Director
Amit Naik
Deputy Art Directors
Hemali Limbachiya
Tanvi Shah
Advertising
Anita Maria Pancras
(advertising@ncpamumbai.com; 66223835)
Ashwin Iyer
(ashwin@spentamultimedia.com; 9820200737)
Senior Digital Manager
Jayesh V. Salvi
Produced by
Editorial Office
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Mathuradas Mills Compound,
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Mumbai - 400013
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Materials in ON Stage cannot be reproduced in
part or whole without the written permission
of the publisher. Views and opinions expressed
in this magazine are not necessarily those of
Features
the publisher. All rights reserved.
NCPA Booking Office
2282 4567/6654 8135/6622 3724
www.ncpamumbai.com
08
Reflections
Musics festival this month, the NCPA
is celebrating artistic plurality in music
Creativity and the outlier. By Anil Dharker from around the world.
By Arwa Mamaji
10
One Step Forward
20
The Headliners
NCPA Nakshatra Dance Festival 2018 is about With Lucrece, Emil and the Detectives and
reinvention, the marrying of ancient dance Constellations, the NCPA is set to bring
tradition with the stories of our time. the best of international theatre to the
By Shayonnita Mallik
local stage. By Reshma O. Pathare
16
Soul Over Soil
24
With bands such as Euphoria and Rakesh and Two to Tango
Friends presenting at the One World Many The tango has travelled far beyond
Contents.indd 4 19/09/18 6:13 PM
36 Letters to the Editor
Somaiya Learning Centre – Talk by Zane Dalal
Thank you very much for providing a context this evening to some
music that I have heard over the years. The broad sweep from Disney to
Shermetyevo, the Parsi-twins and beyond, was indeed a delight; a silo-
busting, renaissance kind of experience. I wish some of my students
had been there. I hope to listen to Bruckner’s 7th soon. Thanks again
for a wonderful evening.
– Kaushik Chatterjee
Coffee and Conversation with Zane Dalal
I enjoyed attending this session. I had no special expectations in
attending and thought this would be a conventional evening where
a conductor shares his thoughts on the joys and agonies of conducting.
As it turned out, he set the framework for his discussion in the most
unconventional terms: tracking the development of the Western
classical music tradition over the last century, and then provoking us to
reflect on the idea of communication, obviously what composers and
conductors aspire to do, but also where we are headed as a society
when the current generation wishes to experience nothing beyond
what the mobile phone can provide.
I found two subjects he covered fascinating. The first was to track the
inventions of the last century decade by decade and juxtaposing them
with the music of those times. Zane’s other exceptional exposition was
in reply to a question – “What to you is the difference between a Mahler
and a Bruckner symphony?” I have never quite heard so evocative a
description of what a Bruckner symphony can stir in the imagination!
– Cyrus Guzder
SOI Open rehearsal
Argentina and Uruguay to find
a well-respected place in the
36
A season to remember
Thank you, for providing the students this wonderful opportunity
of experiencing your orchestra live. The students really enjoyed
this experience. Most adults with special needs love music and it is
classical music canon. To trace
Memorable moments from the therapeutic for them too.
the journey of this musical genre
Autumn 2018 Season of the Our vision of ‘a future where every individual with special needs is
(and dance style) is to unearth
Symphony Orchestra of India. empowered to lead a happy and productive life’ was made possible
its strong links to its place and
through this experience.
culture. By Beverly Pereira
44 On behalf of the Mann family, we would like to say that the support
28
of individuals like you makes it possible for our organisation to exist to
The researcher’s creed make the community a great place to live. Your contribution plays a
Ashok Ranade analyses what vital role in enhancing the services provided at Mann and thus in turn
A Study in Brown
is important and what is facilitating the overall progress of the students.
Had Clifford Brown lived longer,
frivolous in the research of – Geetanjali Gaur, Mann
he would have changed jazz
folk performing arts.
trumpet playing forever.
By Sunil Sampat
32 46
Programme Guide
Follow us on:
facebook.com/NCPAMumbai
@NCPAMumbai
Why Beethoven is the All of October’s events at the
greatest symphony NCPA. NCPAMumbai
writer ever youtube.com/user/TheNCPAMumbai1
History has long pronounced
its near-unanimous verdict:
Ludwig van Beethoven is the
56
What’s Next
pinterest.com/ncpamumbai
shahanshah of the symphony What to expect in the following
form. By Manohar Parnerkar months. We look forward to your feedback and suggestions. Please do drop us an
email at onstage@ncpamumbai.com.
Contents.indd 6 19/09/18 2:27 PM
One
Step
Forward
NCPA Nakshatra Dance Festival 2018 is about reinvention,
the marrying of ancient dance tradition with the stories of
our time. By Shayonnita Mallik
venkat kuttua
Nakshatra New.indd 10 18/09/18 6:10 PM
A Reality
T
he Nakshatra Dance Festival is a festival
for group choreographies in dance. In the
journey of being a curator, Swapnokalpa
Dasgupta (Head of Programming – Dance,
NCPA) has searched for an accurate
definition for group choreography and
found various interpretations of the same. One such
Check
unique performance was Torobaka, an innovative duet
by Kathak dancer Akram Khan and flamenco dancer
Israel Galván. Presented during Nakshatra in 2015, the
performance had the musicians abandoning their usual
niches, and joining the dance at the start. Everything
onstage – from the main dance duet, to the lights, to the
musicians and their movements – had been perfectly
choreographed. It was a spectacular visual treat. And
to Dasgupta, it signified a coming-of-age of dance in
the 21st century: a reinvention of years of tradition into
an expression of the contemporary. It was the moment
she realised how dance had moved away from just
art to experience, had left the penance of the temple
and entered the arena of the stage, even though the
grammar, invented years ago, remained the same.
A scene from Rama
Vaidyanathan’s Vivartana
Nakshatra New.indd 11 18/09/18 6:06 PM
A scene from
Rajendra Gangani’s
Antarparva
Nakshatra Dance Festival 2018, the
NCPA’s annual group dance festival,
“Classically, Bharatanatyam
celebrates this reinvention. I spoke to two was actually created either for
of the festival’s key performers: Sangeet
Natak Akademi award-winning Odissi
dance-dramas or for the soloist
dancer Sharmila Biswas and Padma Shri – the devadasi – who performed
Bharatanatyam dancer Leela Samson,
about the innovations they’re bringing alone. I’ve been a soloist all my
into their choreography. life; working with a group is
THE RHYTHM OF A STORY interesting on many fronts”
Biswas’s Murchhana is the story of sangeet,
or the act of making music, a beautiful though one person wrote it in what is now Pakistan
example of bringing natya into nritta. The piece is and the other person wrote it in the deep South.” For
divided into three acts: the first one shows Rambha Samson, the river, which belongs to so many states and
and Brahma discovering music in the newborn languages, was like her own identity. “My father is from
universe; the second has Mohini, the female form of Pune, my mother is from Asansol. I have Jewish origins,
Vishnu, on her quest for music as a fruit of passion; I have Christian origins, I have Hindu origins. I have a
and the third has a gopi who is transformed into a guru who, at one time, was a theosophist. I am all these
mrudanga in the hands of Krishna. “This must be the things really, and I feel no hesitation in picking up any
fourth or fifth production,” laughs Biswas. She first poem from anywhere.”
came upon Murchhana about 20 years ago, when Anywhere for Nadi became six languages – Tamil,
she met a few mrudanga players. She composed, Sanskrit, Kannada, Urdu, Hindi and Bengali – expressed
performed and recomposed Murchhana in all that in forms such as thumri, baul music and even Rabindra
time. One year, it graced the stage as a solo, the next Sangeet. As Samson read she picked: poetry from Tamil
year, it was a duet. Today, in what Biswas says is her writings that could be traced to 400 BC, and verses
final draft, Murchhana lives as a group performance. from contemporary works such as those by Girish
Karnad. The result is that Nadi gurgles with philosophy
THE UNDERBELLY OF VERSE and poetry, going beyond borders, beyond languages.
Like rivers wind through earth, cutting through states, Through the dance, Samson has reinvented the
Samson’s Nadi winds through poetry, collecting poetry, and through the poetry, given Bharatanatyam
languages, depositing beauty. Three years ago, when vocabulary a new dictionary.
Samson first started reading poetry on rivers, she
was overwhelmed. Writers across the subcontinent WINDS OF REINVENTION
had written the most wonderful verses, steeped in What is clear with these two and the other productions
philosophy on the river. What also amazed her was the at Nakshatra is that the line between traditional and
philosophical similarity in what they were saying: “Even contemporary is getting blurred. For instance, Vikram
12 • October 2018 NCPA
Nakshatra New.indd 12 17/09/18 3:26 PM
Iyengar is presenting contemporary dance via “a Kathak-
Leela Samson
informed body” in Shunya Se, while Rama Vaidyanathan’s
Vivartana (Bharatanatyam) and Rajendra Gangani’s
Antarparva (Kathak) are about abstract concepts such
as transformation and mindfulness respectively. In such
a scenario, what is classical and what is modern? How
do we define what has been reinvented?
Biswas contemplates an answer. “Dance isn’t
generational; it is reinvented every day. Because we
are doing a traditional form, we try to connect to the
past. But the dance that is taken forward, the dance that
moves to the future, that is the one that is reinvented
every day. Reinvention is like a conversation.” For
Samson, reinvention is a strange word. “I think we all
do it differently. It’s really not about whether you are
going forward or backwards or sideways or if people
think your dance is out of place at a particular time.
I’m not sure how these things work and it’s really not
my business.” She explains that her job is to follow her
instinct, to frame poetry and fill it with the dance of
many bodies in a way in which they could best express
their beauty.
But newness has a strange allure. A tarana with jazz
music, a classical dance routine spiked with electronic
dance music – the temptations of experimentation to
see what works and what doesn’t are many. Regardless,
Biswas is critical of the word ‘fusion’. “Sometimes, what
we mean by fusion is patchwork, not really fusion,” she
says. “Look at raga Maand, which has been taken from
Rajasthan and is very much of Rajasthan, but is also a
huge part of Carnatic tradition today.” She points out
that fusion has almost become a misnomer for the
mash-up of diametrically opposing forms like jarring
music and classical dance.
Biswas’s observations set me thinking in Nadi’s
direction. Though the piece employs traditional poetry jewellery and hairstyling, “Just the dancers being
and dance, its coming together is a reinvention of the lean and able-bodied, that itself is modern,
classical format: for instance, it has an Urdu poem I think.” Bharatanatyam in a group is a novel experience
that finds expression in the form of a tillana. Talking for Samson as well. “Classically, Bharatanatyam was
about the process of such creative reimagining, actually created either for dance-dramas or for the
Samson says, “Of course, it was challenging. soloist – the devadasi – who performed alone. I’ve
I went to Rajkumar Bharathi, who’s really a modern- been a soloist all my life; working with a group is
day, genius composer. He is a traditional Carnatic interesting on many fronts. Physically, mentally,
composer, but he was drawn towards these poems emotionally I get quite fed up sometimes,” she admits,
and their traditional tunes. He was excited by the “but I am also extremely revitalised by working with
idea of adapting poetry from six languages into the young people.”
vocabulary of Bharatanatyam – the result of which Talking later to Dasgupta, the curator of the
was not just a dialogue between the river poets of festival, I discuss the upcoming Nakshatra. This year,
then and now, but also a duet between Carnatic and unlike the usual trend, does not have one dance from
Hindustani sangeetam.” each form. Dasgupta is aware she may be criticised
for it, but is willing to risk it. “That system of having
INNOVATION AND RISK one of each type gives a monotony to the curation.
But, all innovation comes with risks; they’re two I want Nakshatra to be about concepts, not what
sides of the same coin. In Samson’s case, Nadi is form, person or group. To maintain a group for years
rather different from what her guru Bharatanatyam and years is a very, very tough thing. Five years ago,
legend Rukmini Devi Arundale did. “Whatever I I felt there was a need to dedicate a festival to the fact
have learnt and whatever I am trying to do is a take- that these people have consistently worked together
off from there. But people may fault me, in saying with each other and stayed together for years, and
mine is not quite as typical, my dancers are not this effort should be recognised.”
dressed as classically,” Samson explains. In her own
ways, she has been trying to divest Bharatanatyam NCPA Nakshatra Dance Festival will take place from
of much of its paraphernalia in costume, in 12th to 14th October.
14 • October 2018 NCPA
Nakshatra New.indd 14 17/09/18 3:27 PM
ARCHIVES
The researcher’s creed
ON Stage brings you excerpts from the NCPA Quarterly Journal, an unsurpassed literary archive that ran
from 1972 to 1988 and featured authoritative and wide-ranging articles. Ashok Ranade analyses what is
important and what is frivolous in the research of folk performing arts.
Aims, objectives, research and relevance Indian situation is concerned, this is the The good and the bad
are terms that need not be assumed to have type of irrelevance that one detects on a The all-round acceptance of folk research
a universal and accepted connotation. majority of occasions. from all quarters evokes only a mixed
In brief, aims can be defined as the Research should make for a better response. It is true that at all levels –
general goals to be attained through life, that it should be a part of a larger individual, institutional, national and
methodical efforts. Objectives are the ameliorative programme, in order to international – research-programmes are
concrete goals located midway between prove its social relevance. Since this is encouraged. But is the encouragement
the initiation of an activity and the the ultimate aim of all human activity, it founded on proper grounds? Perhaps the
attainment of the aims. Research is could surely be used as a guideline. But, time has arrived to do some rethinking
defined as a diligent and systematic as explained earlier, aims are not to be and realign the forces in operation.
investigation into a subject in order confused with objectives. Therefore, the There are clear indications that such a
to discover or revise facts, theories, ultimate (aim) could hardly be the same realisation, and the consequent recharting
applications, etc. Relevance is a variable as the immediate (objective) though of courses followed, is in progress. For
degree of appropriateness example, researchers are anxious
of the efforts to the needs Research should make for a to ensure retrieval rather than
sought to be satisfied through collection. The revolution in
the former. better life, that it should be a communications and the leap in
The aims of researchers technological resources have by
in folk performing arts are part of a larger ameliorative now been successfully harnessed
to carry out a complete
investigation of a particular programme, in order to prove to collect and preserve human
expressions which otherwise
folk culture with the intention
of enumerating, describing,
its social relevance. Since this is might have proved to be too
evanescent. Today there is a
classifying and comparing
forms of folk expression.
the ultimate aim of all human grave danger that facts and
information may outpace the
activity, it could surely be used researcher. Attempts to press
The importance of into service computerised
relevance as a guideline. retrieval systems prove that
The matter of relevance is the danger has been sensed.
appropriate at this point. However, the question is, is it a
A suitable concord of objectives and their mutual dependence cannot be right solution to the problem? The truth
orientations is merely one instance of denied. Action-oriented research, a is that more advanced communication
the relevance-phenomenon. However, phrase so fondly and widely employed, and technology can hardly equip the
the matching of orientation to objectives is a pleonasm because research in itself researcher to face the challenges involved
is an internal kind of relevance. The is action. In fact, action by itself is only because the decisions that need to be
appropriateness or otherwise is within the a truncated phenomenon – the fuller taken in this respect are of a conceptual
research-field which is well-demarcated version of which is the white heat of nature and can hardly be delegated to
by the quartet of researcher, objective, thought – a result of intense mental computers. It is, therefore, essential
orientation and aims. However, the activity and its concretisation. To put to adopt unhesitatingly certain self-
entire activity represented by the quartet it less rhetorically, action-oriented critical positions, and if this strategy is
forms merely a part of the total life of the research, which social relevance likes to followed, the Indian situation poses some
community. Hence, is it not incumbent swear by, is, in reality, a consequence of fundamental questions.
for the research-field, as realised by the objective – orientation correlation A very striking feature of most
the quartet, to have a relationship of that has already been described. If Indian research is the tendency
relevance with society at large? This is the one is aware of the rightful distinction to avoid theorisation. There is an
social relevance plank that has provided between pedantic and academic obvious reluctance to raise conceptual
so much support to an agitated view of the research, then it is the latter which frameworks which relate to collected
art-situation in recent years. successfully strikes an equilibrium data. This is a serious weakness because
The irrelevance that generates anxiety between objectives and orientation. such frameworks are essential to ensure
in the field of researches in folk performing All academic research is relevant and the quality of significance in the material
arts is caused by a mismatching between social relevance is one of its important collected. No fact or detail is insignificant
objectives and orientations. As far as the contributions. sui generis. Even though facts or details
44 • October 2018 NCPA
FOB Archives New.indd 44 17/09/18 3:17 PM
possess an intrinsic importance, no All details, all facts are, therefore, to be Under the circumstances, one may
significance could be assumed unless revered and collected because potentially deduce that three-fourths of the total
a wider conceptual framework is in all are considered worthy of study. folkloristic content is dominated by non-
existence. Therefore, mere discovery of It is also possible to argue that the rather literary impulses. Is it not, therefore, a
facts is not to be equated with carrying out obstinate adherence to the ethnographical great scholastic mistake to continue the
research. It is rather naïve to argue that a rather than the cultural line was due to language-literature bias of the past?
theoretical or a conceptual framework the motives of the British rulers whose It is unfortunate that the nature of
cannot be thought of unless adequate desire to learn more about the country was performance is forgotten in the established
data is collected. Collection of facts and aroused largely by commercial interests. research-processes in folk performing
raising of conceptual frameworks are not Whatever the reasons, it is true that folk arts. Every performance is a result of a
successive by simultaneous processes. research in India remains ethnographic in series of decisions arrived at and carried
Further, all concepts are acts of minimal orientation. However, this is not the whole out through the agency of non-verbalised,
theorisation and if due attention is not story. action-based, physio-mental events
paid to this ratiocinative truth, more and In addition to following the non- accessible to perception in the normal
more irrelevant or at least insignificant selective total-view models tried out by course. Unless attention is focussed on the
facts are likely to be collected. Conceptual the ethno-disciplines, researchers readily phenomenon of performance, half of the
frameworks not only confirm facts but also grasped the research mapping followed researches in the folk expression are likely
generate them. In all research activities, by literary students of folk expression, to remain anaemic and bookish shadows
an emerging hypothesis and a of the pious resolve to research.
gradually increasing body of Unless attention is focussed It is also important to note
facts proceed together. There that even if the value-neutral
are no theory-neutral facts and on the phenomenon of attitude is inevitable in the case
in anthropocentric disciplines of an outsider and also desirable
it is nearly impossible to performance, half of the for any product of a materially
come across these intellectual
wonders. Non-realisation of researches in the folk expression superior or advanced culture
studying an alien culture, does
this fundamental truth has
reduced many researches to
are likely to remain anaemic and it possess the same validity
and legitimacy for an insider
an indiscriminate collecting
activity. Isolated facts
bookish shadows of the pious who undertakes to execute
a deliberate, temporary and
are capable of supplying resolve to research. reversible act of stepping
information; they can out of his native culture? In
hardly impart knowledge. Only active almost totally ignoring, in the process, other words, do Indians researching
theorisation can transform information the performance aspect. Hence, names of into Indian folk expression need to
into knowledge. places, terms, symbols, etc. were subjected adopt the same conceptual, theoretical
to explanations and interpretations with and methodological stances as do non-
Ethnology vs Ethnography literary and linguistic biases. The same Indians? After all, every ethno-study is
There is a deeper reason for the literary attitude allowed an upper hand to be defined as a study of man through
misplaced belief in the importance of to chronology, etymology, genealogy, culture and the studies of separated or
bare facts. Research into folk studies imagery studies, stylistic analysis, etc. isolated culture manifestations in the total
in India incorrectly traces its lineage to Verbalised expression occupied a central context of the particular culture involved.
ethnographic researches. As is known, position – it almost continues to do so even The definition of ethno-study has nothing
ethnography deals with scientific and today. to do with ‘which culture is being studied
detailed descriptions of a culture while the by whom’.
task of comparatively studying two or more The literary conundrum It is instructive to note that though
cultures is left to ethnology. It is easy to see It is time we realise that all these strategies more than a score of disciplines are
that both these approaches adopt a total of research can yield only fringe-benefits listed as contributory for students of folk
view model that believes that everything is as far as the performing arts are concerned. expression, the three major valuational
related to everything else and, therefore, to The chief reason is that these total-view- disciplines of ethics, aesthetics and
understand any single thing, it is necessary based literary strategies miss the core philosophy do not find a place in the
to collect data on almost everything. It of any performance – that qualitative listing. As indicated earlier, folk expression
is obvious why such an approach was dimension of the co-ordinated, physio- as a whole is dominated by performance
adopted in relation to Indian folklore in mental, audience-conditioned act which which, in turn, is a cumulative result of
general. The pioneers in the field were the consists of non-verbalised, improvisatory valuational decisions expressed through
Germans, the British and, a little later, the and impact-guided content. The entire non-verbal, improvised and deliberately
Americans. They were sympathetic but content of folklore is customarily divided structured events. Hence, how can a
alien to the culture they studied. For them, into four categories: material culture, researcher in folk performing arts ignore
the total model was a necessity – it being oral tradition, arts of performance and the value-disciplines?
a safer strategy to cast the investigating customs and superstitions. The first
net wider in unknown waters. Pioneers three categories are actualised through This article first appeared in the NCPA
can hardly afford to be selective; by craftsmanship, verbal performance and Quarterly Journal in December 1983 (Vol.
choice, they have to be accommodative. non-verbal enactment respectively. XII, No. 4)
NCPA October 2018 • 45
FOB Archives New.indd 45 17/09/18 3:17 PM
Programme Guide (Programmes are subject to change. Please check the website and refer to our emails for updated information.) OCTOBER 2018
THEATRE FILMS / SCREENINGS INDIAN MUSIC INTERNATIONAL MUSIC
PHOTOGRAPHY & EXHIBITION PRESENTATIONS & DISCUSSIONS DANCE MULTI ARTS
theatre Produced by Madhu Mohan & Richa music reflects a confluence of
Goel three traditions: Gwalior, Jaipur and
Mirror, Mirror Kirana. Furthermore, her mastery
English Play (75 mins) A Mohan Azaad's Workshop over the semi-classical repertoire of
Tata Theatre Presentation Purab tradition, and her academic
Monday, 1st – 7.30 pm proficiency to analyse and interpret
Tickets: subtle elements in music lend a stamp
Renowned Bollywood actor Minissha `1,875, 1,500, 1,125, 750, 525 & 375/- of authority to her presentation. A
Lamba takes the stage for the first time (Members) prolific composer and an ardent guru,
in a story of sibling rivalry that traces `2,500, 2,000, 1,500, 1,000, 700 & she is known for her enlightening lec-
the relationship between identical 500/- (Public) dems on diverse musical aspects.
twins Minal and Maanya. It is a riveting (Inclusive of GST) In this recital, Dr. Marulkar will
story of a woman placed in the most Box Office now open showcase her eclectic approach to
extraordinary circumstances that aesthetic build-up in khayal vocalism,
forever changes her destiny. indian music and also present some semi-classical
compositions.
Written & Directed by Saif Hasan Hyder Dr. Alka Deo Marulkar
Cast: Minissha Lamba Hindustani Vocal Music (Khayal) Tickets:
Recital `135/- (Members)
An AGP World Production (approx. 120 mins) `150/- (Public)
Godrej Dance Theatre Box Office now open
Tickets: Thursday, 4th – 6.30 pm
`1,500, 1,125, 900, 750, 570 & 375/- film
(Members) An NCPA Presentation
`2,000, 1,500, 1,200, 1,000, 760 & Fresh Pix: Aamhi Doghi
500/- (Public) Daughter and disciple of veteran Marathi Film (140 mins)
(Plus GST) vocalist Rajabhau Deo, Dr. Alka Deo Little Theatre
Box Office now open Marulkar was also privileged to Thursday, 4th – 6.30 pm
train with M. S. Kanetkar, a veteran
theatre of Jaipur gharana. As a result, her An NCPA Presentation
That's My Girl Dr. Alka Deo
Marulkar, 4th,
Aamhi Doghi explores the beautiful
English Play (120 mins) Godrej Dance relationship between two women
Tata Theatre Theatre – a motherless 16-year-old Savi and
Tuesday, 2nd – 7.00 pm 25-year-old Ammi. They share a warm
relationship even though one would
That’s My Girl is the story of a daughter expect rivalry.
who has come looking for a role in
the Hindi film industry and meets her Directed by Pratima Joshi
father who had deserted her and her Produced by Puja Chhabria
mother 16 years ago. The interaction
Aamhi Doghi,
between the daughter, a wannabe 4th, Little
film actress, and the father, a veteran Theatre
screenwriter, is funny and sentimental.
Written & Directed by Bharat
Dabholkar
Cast: Anant Mahadevan, Shweta
Rohira & Ananya Dutta
46 • October 2018 NCPA
Programme Guide.indd 46 18/09/18 2:48 PMStudio: White Swan Studios & Everest Rakesh &
Entertainment Friends, 5th,
Cast: Mukta Barve, Priya Bapat, Tata Theatre
Bhushan Pradhan, Kiran Karmarkar,
Aarti Wadakbalkar & Prasad Barve
Admission on a first-come-first-
served basis. NCPA members will
get preferential seating till 6.20 pm.
theatre
Kalam
Hindi Play (100 mins)
Godrej Dance Theatre
Friday, 5th – 5.00 pm & 7.00 pm
The play revolves around the story of a Euphoria,
6th, Tata
scientist, a fighter, a teacher, a motivator, Theatre
a successful president and politician,
and lastly of a ‘winner’, a winner of the
hearts of people from across the world:
the story of Dr. A. P. J. Abdul Kalam.
Directed by Anshuman Bagaria
Cast: Kumar Chheda, Rishabh Joshi,
Yash Barot, Prachi Mehta & others
Abstract Productions
Tickets:
`450/- (Members)
`500/- (Public)
Box Office now open
international music (Approx. 120 mins each day) of RAF include: Satyajit Talwalkar
Tata Theatre (tabla), Gino Banks (drums), Sheldon
NCPA Jazz Collective Friday, 5th & Saturday, 6th – 7.00 pm D’Silva (bass guitar), Sanjoy Das
Experimental Theatre (guitar) and Sangeet Haldipur
Friday, 5th – 7.00 pm An NCPA Presentation (keyboard and vocals). Individually
trained in diverse musical traditions,
The NCPA Jazz Collective comprises The world we live in is buzzing with together, the talented young brigade
four talented young musicians who myriad traditions and musical forms strives to extend the boundaries of
have a spark and enthusiasm for jazz across various indigenous cultures. their respective instruments and
as a genre in India – the jazz/Latin-jazz Music from around the world exerts musical fields. Blending sounds and
pianist Pradyumna Singh Manot, wide cross-cultural influence as styles expressions of Indian instruments with
Sanjeeta Bhattacharya on vocals, influence one another. This festival that of international instruments, they
Abhinav Khokhar on upright acoustic showcases varied musical forms and explore a vast musical canvas leading
bass and Saurav Ghosh on drums. The reaffirms the peaceful co-existence to newer musical sounds and exciting
quartet represents the high standards of cultural and artistic plurality in the soundscape.
for live jazz performance that have world. With this event, we celebrate
been set by JAZZ@NCPA over the last the power of music as a healing Saturday, 6th October
few years. force that promotes cross-cultural Euphoria
understanding, and remind people of
Tickets: `500/- all cultures and religions that we share Euphoria is one of the first Hindi rock
Box Office now open a common humanity. bands to ride the pop wave in the mid
’90s. Since then, they have performed
indian music Friday, 5th October over 1,700 shows worldwide and
Rakesh & Friends (RAF) collaborated with top-ranking bands
One World Many Musics: such as Sting. Spearheaded by
Celebrating Artistic Led by the well-known flautist Rakesh Dr. Palash Sen, a singer, songwriter,
Plurality Chaurasia, the other instrumentalists musician, composer and actor, the
NCPA October 2018 • 47
Programme Guide.indd 47 18/09/18 2:49 PMband will present original songs based The play portrays post-partum SOI Chamber
on themes ranging from love, longing, depression, highlighting a highly Orchestra, 9th,
Experimental
life, fun and relationships; from their neglected form of depression. Theatre
popular albums Dhoom Pichak Dhoom,
Halla Bol and other commercially Written by American Playwright
successful productions. Tammy Ryan
Directed by Ila Arun & K.K. Raina
Daily Tickets: Cast: Dilnaz Irani, Ankur Rathee/Joy
`600, 450 & 300/- (Members) Sengupta, Ashish Chawla, Anjula
`800, 600 & 400/- (Public) Bedi/Shilpa Mehta & others
(Inclusive of GST) An NCPA Presentation
Box Office now open Age: 18+ Supported by the Consulate
General of Brazil in Mumbai
international music Tickets:
`675 & 450/- (Members) Mozart: String Quartet No. 19
Shakuntala ` 750 & 500/- (Public) “Dissonance”, K.465 (orchestra version)
The Unfinished Opera by Franz (Inclusive of GST) Villa-Lobos: Adagio from Bachiana
Schubert (approx. 100 mins) Box Office now open Brazileira No. 2
Jamshed Bhabha Theatre Villa-Lobos: Choro No. 7
Saturday, 6th – 7.00 pm theatre Shostakovich: Piano Concerto No.1
An Austrian Embassy & Jasubhai ELVIS – Long Live the Tickets: `600 & 400/- (plus GST)
Foundation Presentation King! Box Office now open
India's First Tribute Show (90 mins)
Shakuntala is an unfinished opera in Tata Theatre theatre
three acts, written in 1820 by Franz Sunday, 7th – 7.00 pm
Schubert to a libretto by Johann Philipp The Unexpected Man
Neumann. The opera is based on the Raell Padamsee presents ELVIS – Long English Play (120 mins)
Sanskrit story of Shakuntala’s love for Live the King!, the best Elvis Presley Experimental Theatre
King Dushyanta and her rejection. In tribute show ever presented in India. Wednesday, 10th & Thursday, 11th –
1789, Kalidas’s Shakuntala was translated Get all set to groove and move to 7.30 pm
by Sir William Jones, reportedly the Elvis’s greatest hits – ‘Jailhouse Rock’,
first Indian play to be translated into ‘Hound Dog’, ‘Love Me Tender’ and The Unexpected Man is a middle-age
a Western language. The famous many more. The show will take the romance set on a night train from
love story caught the attention of audience across a journey in the life of Paris to Frankfurt. Two passengers,
Schubert. This concert version of the Elvis with the help of stunning visuals two strangers, two worlds apart. The
musical masterpiece was arranged and on LED screens, backing vocalists man struggling with his growing
completed by the composer, conductor and glitzy rhinestone costumes that bitterness with people, and the woman,
and president of the Vienna Boys’ will give a truly authentic Las Vegas recovering from the death of her dearest
Choir, Professor Gerald Wirth. It will be experience. friend. Will they find the connection
performed by an Austrian chamber they want? With a minimalist set design,
orchestra, consisting of musicians of the Starring: Siddharth Meghani & and a dynamic sound and light design
Collegium Ennsegg Orchestra and the his Live Band that brings the train alive, the characters
Bruckner Orchester Linz, together with Directed by Karla Singh find themselves on a trip that could
voices from the Shillong Chamber Choir Produced by Raell Padamsee's ACE change their lives.
of India, making it a true Indo-Austrian Productions
cultural enterprise. The story will be Written by Yasmina Reza
presented by an Indian narrator in Tickets: Translated by Christopher Hampton
English. Schubert’s musical text will also `1,875, 1,500, 1,125, 750, 563 & 375/- Directed by Padma Damodaran
be interpreted by Indian classical dancer (Members) Associate Direction by Sadiya Siddiqui
Shovna Narayan. `2,500, 2,000, 1,500, 1,000, 750 & Cast: Naved Aslam & Padma
500/- (Public) Damodaran
Tickets: (Inclusive of GST)
`1,000, 750 & 500/- (inclusive of GST) Box Office now open A Red Earth Stories Production
Box Office now open
international music Age: 15+
theatre
SOI Chamber Orchestra Tickets:
Baby’s Blues Evgeny Bushkov, conductor `675 & 450/- (Members)
English Play (110 mins) Luiz Gustavo Carvalho, piano `750 & 500/- (Public)
Experimental Theatre Experimental Theatre (Inclusive of GST)
Sunday, 7th – 5.00 pm & 7.30 pm Tuesday, 9th – 7.00 pm Box Office now open
48 • October 2018 NCPA
Programme Guide.indd 48 18/09/18 2:50 PMfilm Khandu Sanap, Admission on a first-come-first-
12th, Little
Theatre served basis. NCPA members
Argentine Film Festival will get preferential seating till
2018 6.20 pm.
Little Theatre
Thursday, 11th – 4.00 pm onwards dance
In association with the Consulate NCPA Nakshatra Dance
General & Promotion Centre of the Festival, 2018
Argentine Republic, in Mumbai Friday, 12th to Sunday, 14th
October
Las Acacias
(2011 / 96 mins) The Nakshatra Dance Festival
Thursday, 11th – 4.00 pm to 5.36 pm aims to feature innovative group
choreographies. This year brings
Reluctantly, a dour long-distance stellar performances by eminent
truck driver agrees to give a lift to a Meghana choreographers such as Leela
Sardar, 12th,
Paraguayan single mother and her Little Theatre Samson, Sharmila Biswas, Rajendra
five-month-old daughter to Buenos Gangani, Rama Vaidyanathan,
Aires. Can the palpable silence soften Vikram Iyengar and Bimbavati Devi.
up the taciturn trucker's sullen heart? The festival also explores two dance
The film won the Caméra d'Or at the workshops to be conducted by learned
2011 Cannes Film Festival. scholars, Biswas and Vaidyanathan. It
also has a talk by Dr. Sunil Kothari, a
Directed by Pablo Giorgelli noted Indian dance historian, scholar
Cast: Germán de Silva & Hebe Duarte and critic.
Vino Para Robar (To Fool Nakshatra Performances
a Thief)
(2013 / 105 mins) Ghana Baari Barikhata:
Thursday, 11th – 6.00 pm to 7.45 pm Reflections in a Raindrop
Manipuri by Bimbavati Devi &
Two professional thieves will have to Manipuri Nartanalaya &
work together to steal a unique bottle Shunya Se
of wine kept safe inside a bank in (Approx. 90 mins) Neo-Classical Dance by Vikram
Mendoza. Little Theatre Iyengar & Ranan
Friday, 12th – 6.30 pm (Approx. 120 mins)
Directed by Ariel Winograd Experimental Theatre
Cast: Daniel Hendler, Valeria Prominent among the various Friday, 12th – 6.30 pm
Bertuccelli & Martín Piroyansky initiatives undertaken by Citi and the
NCPA are two schemes: Support to Ghana Baari Barikhata is a traditional
Showroom Gurus and Scholarships to Young song sung in natasankirtanas in
(2014 / 75 mins) Musicians. These programmes are in Manipur that describes the pangs of a
Thursday, 11th – 8.00 pm to 9.15 pm the field of Hindustani vocal (dhrupad nayika whose tears flow like rainwater,
and khayal) and instrumental music when she sees her nayaka. Monsoon
After losing his job, a family man at (melody and percussion instruments). has been the welcome season of
rock bottom becomes obsessed with This series is launched to showcase the fertility and love. The monsoon songs
his new job as an apartment salesman. beneficiaries of the above schemes. eulogised the intermittent separation
In this event, there will be a pakhawaj of lovers as well as their eternal love
Directed by Fernando Molnar recital by Khandu Sanap followed by as they swung together during Jhulan
Cast: Roberto Catarineu, Andrea dhrupad recital by Meghana Sardar. Yatra, and a bhakta's love for god and
Garrote & Diego Peretti Sanap trains with Sukhad Munde. He for his devotees when his chariot is
holds a Master’s degree in pakhawaj, pulled with the cords of love during
Admission on a first-come-first- and received first prize at the State Level Rathayatra. The choreography is
served basis. Pakhawaj Festival held at Usmanabad. based on the traditional and ritualistic
He is the recipient of the CITI-NCPA dance and music of Manipur that are
indian music scholarship 2015-16. Sardar trains with performed during the festivals that
dhrupad maestro Uday Bhawalkar. She are celebrated during the monsoon
CITI-NCPA Promising has been awarded scholarship from season.
Artistes Series the Ministry of Culture (India) and was a From the abstract and intangible
Khandu Sanap, pakhawaj recipient of the CITI-NCPA scholarship to the concrete and tangible, all
Meghana Sardar, dhrupad 2015-16. existing together, distinct, yet closely
NCPA October 2018 • 49
Programme Guide.indd 49 18/09/18 2:51 PMBimbavati Devi, Vikram Iyengar, 12th, Rajendra
12th, Experimental Experimental Theatre Gangani, 14th,
Theatre Tata Theatre
Sharmila Biswas, 13th, Rama Vaidyanathan,
Tata Theatre 13th, Tata Theatre
Leela Samson,
14th, Tata
Theatre
connected: Shunya Se creates a The story of Murchhana has a mystic Antarparva: A Journey
reflection of this specificity, multiplicity quality. It is unique in the way in Within
and abstraction with and within the which traditional artistes capture the Kathak by Rajendra Gangani &
Kathak dance form and the Kathak- inexplicable and infinite through very Troupe &
informed body. Journeying through simple gestures and words. The first Nadi: The River
Kathak grammar and principles of story describes Rambha and Brahma, Bharatanatyam by Leela Samson &
movement, Shunya Se simultaneously discovering music in the newly formed Spanda
maintains, extends and challenges universe. The next story is about the (Approx. 120 mins)
the assumptions Kathak is based on, music arising from passion and the Tata Theatre
and an all-pervading pulse, a secret, quest for everlasting youth. The last Sunday, 14th – 6.30 pm
sometimes silent rhythm binds all this story is about the transformation of
together – the elements of Kathak and Tungavidya into Mrudanga, in the Antarparva is a celebration of the
the elemental universe – in a growing, hands of Krishna. emotions that are constantly created
morphing, evolving conversation Vivartana talks about dance being when the outer world collides with
created and spoken through this a multilayered powerhouse of the inner self. It is a journey within. A
dancing body. transformation. Dance transforms us journey narrated not through words
physically, emotionally, spiritually and but through pure, lucid movements
Tickets: culturally; it also has the capacity to that culminate into the expression
`360 & 270/- (Members) eventually touch the world around of the highest form of happiness.
`400 & 300/- (Public) us. As stated by expert journalist Antarparva is the manifestation of
Shanta Gokhale, "In Vivartana, noted the pure joy that one feels for simply
Murchhana: The Eternal Bharatanatyam exponent Rama existing.
Spirit of Music Vaidyanathan proposes dance The river has been the very source
Odissi by Sharmila Biswas and itself as a medium of transformation, of life. Nadi is a selection of poems
Odissi Vision & Movement Centre & fundamentally altering the relationship from six Indian languages - Tamil,
Vivartana: Dance of the self with the other and the self Sanskrit, Kannada, Urdu, Hindi and
Transforms with the self.” Bengali. The musical expressions vary
Bharatanatyam by Rama from a traditional thumri of Varanasi
Vaidyanathan & Troupe Tickets to Rabindranath Tagore’s poetic
(Approx. 120 mins) `450, 300 & 150/- (Members) and musical expressions in Bengali
Tata Theatre `600, 400 & 200/- (Public) that reflect the soulful music of the
Saturday, 13th – 6.30 pm (Plus GST) wandering bauls of Bengal.
50 • October 2018 NCPA
Programme Guide.indd 50 18/09/18 2:53 PMTickets:
`450, 300 & 150/- (Members)
`600, 400 & 200/- (Public)
(Plus GST)
Box Office for the Festival now open
A Talk by Dr. Sunil
Kothari
Tata Theatre Foyer
Saturday, 13th – 5.00 pm to 6.00 pm
Ramakant
Gundecha, 14th,
Sunil Kothari is a noted Indian dance West Room 1
historian, scholar and critic. He is also
a former Uday Shankar Professor In collaboration with Dhrupad
at Ravindra Bharti University, Kolkata. Sansthan Bhopal Nyas
He received the Padma Shri in 2001, and Pranjali Barve, 13th,
the Sangeet Natak Akademi award in Experimental Theatre Dhrupad is the oldest surviving genre
1995 for overall contribution to Indian of Hindustani music. The tradition is
classical dance. He was awarded the 7039067878 or email sdasgupta@ reputed for following special training
Kumar Chandrak in 1961 and the ncpamumbai.com. methods to groom facets such as
Ranjitram Suvarna Chandrak in 2012. voice, breath control, pitch control and
international music systematic delineation of composition.
Admission on a first-come-first- The NCPA offers a special opportunity
served basis. NCPA members will Sparks Fly to train with the internationally
get preferential seating till 4.50 pm. Featuring Hotpocket with Pranjali renowned exponents of this art form,
(Approx. 90 mins) Umakant and Ramakant Gundecha,
Workshops of Nakshatra Experimental Theatre and their senior disciples. The following
Saturday, 13th – 7.00 pm topics will be covered in the sessions:
Odissi Workshop by 1. Science of swara and raga
Sharmila Biswas An NCPA Presentation – 2. Voice culture training for raga music
Sea View Room Performance Series 3. Music and Yoga –
Sunday, 14th – 11.00 am to 1.00 pm Nadayoga in Dhrupad
With the success of The Wunderkinds, 4. Study of laya and tala
Odissi exponent Sharmila Biswas the NCPA now brings you a fabulous
will conduct a workshop on spins live performance of pure pop, paying The sessions will be conducted every
or bhramari from Abhinaya Darpana tribute to the divas of music such as month to maintain continuity.
and will also teach exercises that are Madonna, Celine Dion, Taylor Swift,
specially developed for Indian classical Demi Lovato, Christina Aguilera, Adele, Enrolment Fee: `1,000/- (plus GST)
dances. Selena Gomez, Miley Cyrus, Pink and for one session of 2 hours. A limited
Idina Menzel. A supremely melodic number of registrations will be
Registration Fees: `400/- singer, Pranjali Barve will recreate the accepted. For enquiries regarding
For registrations, call Binaifar mood with a live pop performance, batches, timing and registration:
66223822 / 9137076369 or email rendering each song in its purest contact 66223813 or write to
sdasgupta@ncpamumbai.com. form, along with a very accomplished us at ncpamusicworkshops@gmail.
and talented band called Hotpocket, com.
Bharatanatyam comprising Hrishi Giridhar (guitar),
Workshop by Rama Shivang Kapadia (drum), Risa theatre
Vaidyanathan Rodrigues (bass) and Ayan Banerjee
Tata Theatre Foyer (piano and keyboards). Jeene Bhi Do Yaaro
Sunday, 14th – 11.00 am to 4.00 pm Hindi Play (120 mins)
Tickets: `500/- Experimental Theatre
SNA Awardee Rama Vaidyanathan Box Office now open Sunday, 14th - 7.00 pm
will conduct a Bharatanatyam
workshop, teaching Thiruvrmpavai indian music The promise of a sweet future together,
Kautuvam, an invocatory piece based walking hand-in-hand into the sunset
on Manikka Vachakar’s tamil text Training Sessions in forever. This is what romantic dreams are
Thiruvempavai. Dhrupad made of. The husband-to-be, to impress
Conducted by Umakant & Ramakant his sweetheart will go out of his way to
Registration Fees: `2,000/- (Inclusive Gundecha do everything she demands. But after
of GST) Supported by their Disciples the wedding, what happens? The same
For registrations, call Binaifar West Room 1 sweetheart becomes a nag. The man
66223822 / 9137076369 / Sunday, 14th – 1.00 pm to 6.00 pm knowing well that the end has been
NCPA October 2018 • 51
Programme Guide.indd 51 18/09/18 2:54 PMachieved becomes lax and takes his wife teaching the piano for over 30 years. community and their memories of love
for granted. Watch the dynamics of this With a musical teaching lineage that and loss. It is the first feature film from
post-marriage situation. includes Haydn, Mozart, Beethoven the u-ra-mi-li project, a larger body of
Written & Directed by Om Katare and Liszt and more directly Olga Craen, work that looks at the connections
Cast: Om Katare, Partik Pendharkar, Tehmie Gazdar and Mario Monreal, between music and labour.
Radha Bharwdaj, Sapna Malhotra & she feels compelled to spread the
Abid Khan joy that music has given her. She has Directed by Anushka Meenakshi
had several students who have been
A Yatri Production recipients of the local, national and Admission on a first-come-first-
international awards at the ABRSM and served basis. NCPA members will
Age: 18+ Trinity College, London examinations get preferential seating till 6.20 pm.
and winners of several local, national
Tickets: and international competitions. The theatre
`450 & 360/- (Members) recital will present her students.
`500 & 400/- (Public) Dreamz – Seher
Box Office now open Admission on a first-come-first- Hindi Play (60 mins)
served basis. Experimental Theatre
theatre Wednesday, 17th – 7.30 pm &
film Thursday, 18th – 4.30 pm & 7.30 pm
FemaPalooza – A Unique
Show for Women by NCPA Reality Check Dreams are a figment of our
Women Little Theatre imagination that makes us question the
Stand-up Comedy (120 mins) Monday, 15th – 6.30 pm real from the created. Professor Saheb
Godrej Dance Theatre arrives in a quaint town of Kasauli for a
Sunday, 14th – 5.00 pm & 7.30 pm In collaboration with the Cinema quiet weekend, when he is pulled in by
Collective 1 a mysterious sister in search. As he tries
FemaPalooza is a unique show for to help, he is engulfed into a dream
women by women. The fourth time at Kho Ki Pa Lu/ Up Down & or a shocking reality, leading to many
the NCPA, FemaPalooza is back with a Sideways questions.
line-up of six of the best comics in India. In Chokri (a Naga language) with
It is sure to leave you rolling on the floor English Subtitles (83 mins) Written and Directed by Pankaj Kapur
laughing. Bring your mothers, sisters, Cast: Pankaj Kapur, Supriya Pathak
MILs, daughters, granddaughters and Close to the India-Myanmar border is Kapur, Gautam Saugat, Vasil Khan
BFFs for this unique show. the village of Phek in Nagaland. Around & others
5,000 people live there, almost all
Cast: Jeeya Sethi, Sonali Thakker, of whom cultivate rice for their Presented by Theatron
Aishwarya Mohanraj, Niveditha own consumption. As they work in
Prakasam, Pavitra Shetty & Aditi co-operative groups – preparing the Tickets:
Mittal terraced fields, planting saplings or `540 & 450/- (Members)
harvesting the grain and carrying it `600 & 500/- (Public)
A Comedy Ladder Production up impossibly steep slopes – the rice (Plus GST)
cultivators of Phek sing. The seasons Box Office now open
Age: 16+ (Only women can attend) change, and so does the music,
transforming the mundane into the indian music
Tickets: hypnotic. The love that they sing of
`540/- (Members) is also a metaphor for the need for Nad Ninad: From Our
`600/- (Public) the other – the friend, the family, the Archives
(Plus GST) community, to build a polyphony of Guided Listening Session on the
Box Office now open voices. Stories of love, stories of the field, Musical Artistry of Nikhil Banerjee
stories of song, stories in song. Up Down (Approx. 120 mins)
international music & Sideways is a musical portrait of a Little Theatre
Keyed Up Kho Ki Pa Lu,
15th, Little
Piano Recital by Students of Theatre
Blossom Mendonca
(Approx. 120 mins)
Little Theatre
Sunday, 14th – 7.00 pm
A second-generation piano teacher
and the founding director of Living
Voices, Blossom Mendonca has been
52 • October 2018 NCPA
Programme Guide.indd 52 18/09/18 2:54 PMNikhil Banerjee, story. Dopehri is a novella written by various mental issues in their lives. The
19th, Little
Theatre Kapur that is rendered onstage with the result is total chaos. We get a glimpse
help of lights and music. It transports of the four religions in their domestic
us through Amma Bi’s journey from environment as we go into the
loneliness to self-discovery. characters’ homes and witness their
relationships with various people in
Written & Directed by Pankaj Kapur their lives. Five actors play 35 characters
Performed (rendered) by Pankaj Kapur in this play.
Produced by Supriya Pathak Kapur
Written & Directed by Meherzad Patel
Tickets: Cast: Mona Singh, Sajeel Parakh,
`540/- (Members) Danesh Irani, Meherzad Patel,
`600/- (Public) Danesh Khambata & Siddharth
(Plus GST) Merchant
Friday, 19th – 6.30 pm Box Office now open
A Silly Point Production
An NCPA Presentation PHOTOGRAPHY
Tickets:
This programme makes available APAC School of `1,500, 1,125, 900, 750, 525 & 375/-
to the lovers of Hindustani classical Photography (Members)
music some of the NCPA’s archival Photo Exhibition `2,000, 1,500, 1,200, 1,000, 700 &
recordings. This month, we present Piramal Art Gallery 500/- (Public)
the music of sitar maestro, Nikhil Saturday, 20th & Sunday, 21st – (Inclusive of GST)
Banerjee (1931-1986), specially 12.00 pm to 8.00 pm Box Office now open
recorded for our archives in 1975 and
1976. A child prodigy, Banerjee was the Vinayak Puranik and Archana Joshi theatre
youngest musician to win a competition of the APAC School of Photography,
and consequently be employed by the Thane, will host an exhibition of a photo Imli Papita Tarbuz
All India Radio at the age of nine. His contest organised by them. Entries Hindi/English Play (100 mins)
mentors were great instrumentalists from all over India have been received Godrej Dance Theatre
such as Birendra Kishore Roy including their students. Selected Sunday, 21st – 12.00 pm
Chowdhury, Radhika Mohan Maitra photos will be exhibited in the gallery.
and the legendary maestro from Maihar, The award function for the winners An NCPA Presentation
Baba Allauddin Khan along with his will be held on Sunday, 21st October at
son, Ali Akbar Khan. Hailed for his 2.00 pm in the gallery. Sunny and Ririe are excited to leave
technical virtuosity, he forged his own for Disneyland but an emergency in
distinct style of playing, which was theatre the family brings their cousins home
imbued with extraordinary fluidity from the Konkan to Mumbai. The three
and emotional content. This session Laughter Therapy cousins Imli, Papita and Tarbuz are not
will be conducted by Dr. Ashwin English Play (120 mins) welcomed by Sunny and Ririe. A series
Dalvi, who has researched the life and Tata Theatre of humorous and emotional incidents
contribution of Banerjee. Dr. Dalvi is a Saturday, 20th – 7.00 pm take place, which form a bond between
senior disciple of sitar maestro Arvind them for life.
Parikh and is presently the chairman of A Hindu, Muslim, Christian and Parsi
Rajasthan Lalit Kala Akademi. walk into the therapy session of Dr. Story & Creative Direction by Makarand
Bombay’s clinic to help cope with Deshpande
Admission on a first-come-first-
Imli Papita Tarbuz, 21st,
served basis. NCPA members will Godrej Dance Theatre
get preferential seating till 6.20 pm.
theatre
Dopehri
Dramatic Reading in Hindi (80 mins)
Experimental Theatre
Friday, 19th – 7.30 pm
Saturday, 20th – 4.30 pm & 7.30 pm
Dopehri is set in the streets of
Lucknow where sits the haveli of an
old, lonely woman named Amma Bi.
Pankaj Kapur brings to us her
NCPA October 2018 • 53
Programme Guide.indd 53 18/09/18 2:55 PMDirected by Tejas Malap international music Conducted by Nicola Luisotta
Cast: Aakanksha Gade, Anvay Cast: Anna Netrebko (Aida), Anita
Ashtivkar, Bharat More, Mayuri Francesco Granata in a Rachvelishvili (Amneris), Aleksandrs
Mohite, Ankit Mhatre & others Piano Recital Antonenko (Radamés), Quinn Kelsey
An Ansh Production Experimental Theatre (Amonasro), Dmitry Belosselskiy
Sunday, 21st – 7.00 pm (Ramfis) & Ryan Speedo Green (The
Age: 3+ King)
A Mehli Mehta Music Foundation
Tickets: Presentation Tickets: `500/-
`450/- (Members) `250/- (only for students on
`500/- (Public) Francesco Granata, 20, has been production of valid ID cards)
Box Office now open performing since the age of eight Box Office now open
and has won several competitions
theatre and prizes, the most recent being the indian music
First Prize of the Premio Venezia Piano
The Siddhus of Upper Competition in 2017. He graduated Sukhan, 25th,
Juhu from the Conservatory Giuseppe Verdi Experimental
Theatre
English Play (120 mins) with highest honours and is currently
Tata Theatre at Santa Cecilia Academy in Rome. The
Sunday, 21st – 7.00 pm programme will include the works of
Debussy, Chopin and Mussorgsky.
Balvinder aka Bubbles Siddhu, a
50-year-old well-paid financial Tickets:
executive, and his loyal Parsi wife, `700 & 600/- (plus GST)
Behroze, live on the 14th floor of Box Office: 9th October for Members
a typical modern Upper Juhu aka & 12th October for Public
Andheri hi-rise called Sea View Towers.
In spite of having poured their life screening
savings into this 2.5 BHK flat in Mumbai,
everything civil and civic seems to go Aida Sukhan: A Mehfil of Urdu
wrong. By Giuseppe Verdi Literature & Sufi Music
Opera Screening (approx. 216 mins) (approx. 180 mins)
Originally produced for Aadyam, Sung in Italian with English Subtitles Experimental Theatre
an Aditya Birla Group Initiative Godrej Dance Theatre Thursday, 25th – 6.30 pm
Tuesday, 23rd – 6.00 pm
Directed by Rahul da Cunha An NCPA Presentation
Cast: Rajit Kapur, Shernaz Patel, An NCPA-The Metropolitan Opera
Meera Khurana, Kajli Sharma & (New York) Presentation Produced by Wide Wings Media
Shishir Sharma & Jigisha Creations
Aida is a classic love story of love and
A Rage Production betrayal. Set in Memphis, in the capital A team of 18 talented artistes presents
city of ancient Egypt, Ethiopian princess Sukhan; an event showcasing a
Tickets: Aida is held prisoner. An Egyptian plethora of works from Urdu literature
`1,125, 900, 750, 600, 375 & 225/- general, Radames, is secretly in love along with compositions of Hindustani
(Members) with Aida, and she with him. The story and Sufi music. The presentation also
`1,500, 1,200, 1,000, 800, 500 & has a twist when Radames is chosen to includes recitation of Urdu prose
300/- (Public) lead a war against Ethiopia and Aida is and storytelling (dastangoi) as well
(Plus GST) conflicted between her love for him as recitation of ghazals and nazms
Box Office now open and her country. along with the musical presentation of
ghazals and qawwalis.
Aida, 23rd,
Godrej Dance
Theatre Tickets:
`315 & 225/- (Members)
`350 & 250/- (Public)
Box Office: 9th October for Members
& 12th October for Public
dance
The Courtesan Project
by Manjari Chaturvedi
Dance Re-lived, Stories Retold,
54 • October 2018 NCPA
Programme Guide.indd 54 18/09/18 2:56 PMYou can also read
