The stage is set...
ROMESH CHANDER
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Mohan Maharishi has now set up Natwa Theatre Society, giving Delhi a chance to experience the best of drama.
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A LEAF FROM THE PAST Mahendra Mewati as Othello and Hema Bisht as Desdemona in "Othello" presented by Natwa.
Mohan Maharishi as a theatre director and researcher is a well-known name in India and abroad. A distinguished alumnus of the National School of Drama (1965) and its former director (1984-1987) and then the Head of the Department of Indian Theatre as also the Dean of Punjab University (1987-2002) he has now returned to Delhi with a new mission to give a professional touch to the theatre scene in the Capital and generate employment opportunities for trained actors and others. With the help of some well-known theatre activists and supported by corporates like Hutch, Nucleus Software and Jubilant, Mohan Maharishi has now set up Natwa Theatre Society with the primary objective to provide good theatrical performance every two or three months for the next 12 months.
To begin with, Natwa will try to suitably remunerate its actors and gradually build a Repertory of its own. Natwa's seriousness of purpose is evident from its already publicized programme. After the first five shows of "Othello" that opened this past week at Sri Ram Centre, its repeat shows will be on December 17, 18, 2005. Natwa's second production is scheduled for February 18, 19 and 24, 25, 26, 2006; the third production is slated for April 2006. The fourth production in August, 2006 and the fifth in November, 2006 with repeat shows in December. It is for the first time that any theatre group in Delhi, including the NSD Repertory, that has planned for a year ahead and this in itself is indeed an indication of Natwa's seriousness of purpose.
If Natwa's opening presentation of William Shakespeare's "Othello" in Hindi designed, directed and translated by Mohan Maharishi that premiered at Sri Ram Centre is any indication, the company certainly has the potential to bring about a change in Delhi's theatre scene.
Over the years the traditional concept of Shakespearian tragedy along with the concept of realism is cracking up in the world theatre. But Shakespeare in India in different languages has still not been able to get out of the proscenium. Mohan Maharishi has to an extent tried to break out via the "Hanamichi" used in a Kabuki performance in Japan. Where "Hanamichi" is constructed along the side walls of the auditorium, every one in the audience can see the action whereas in our theatre hails the ramp (a substitute for "Hanamichi") can only be constructed on the central isle, those sitting in the gallery can not see most of the action on the ramp. The designer in Mohan found a way out by confining the action only to a limited space down the ramp.
The director has also tried to give a different interpretation to lago's character. He has Anurag Arora play his lago with immense understanding of human mind rather than the evil incarnate, as generally perceived. Anurag has an excellent voice and knows how to use it effectively. While watching his movement, gestures and pauses I was reminded of his excellent performance in "Dara Shiko" directed by Sathyu and now his lago too will live with us for a long time.
Mahendra Mewati's though a little stiff in the beginning but on the whole carried his "Othello" with dignity. In Harvinder Kaur we have a seasoned actress who plays her Amelia with ease and carries herself with dignity all her own. She is indeed an asset for Natwa. Sanjiv Chopra, a heavy man, in father's role with a good voice speaks well but at times his enunciation is a little weak. He has potential and we look forward to seeing more of him with Natwa. Desdemona is an important character in the play and in Natwa's presentation it is being played by two actresses and unfortunately the one playing the role the evening I saw the play was rather weak.
Anjali Maharishi's costumes are indeed a help in the carriage and movement of the actors and Ashok Sagar's lighting design works hand in glove with Mohan Maharishi's overall production design. The Hindi translation by the director himself is yet another asset to the presentation. It has a flow and what is more, is easy on the tongue and captures the beauty and rhythm of the spoken word. A play not to be missed when it will be on the boards again on December 17, 2005.
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