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This is an archive article published on November 7, 2014

Heart of a City

Boiled Beans on Toast, a play written by Girish Karnad and directed by Lillete Dubey, arrives in Delhi

A scene from the play A scene from the play

For six months, theatre regulars in Delhi have been hearing and reading about Boiled Beans on Toast. Playwright Girish Karnad’s latest script has been put on stage by Lillete Dubey — two reasons for the anticipation and expectations being high. The play that has matured over 15 shows across India, was staged in Delhi as part of the Old World Theatre Festival on October 18. From Mumbai, Dubey spoke about turning Karnad’s words into action.

What made you choose Boiled Beans on Toast as a script to direct?

We set up our company, Primetime Theatre, to promote Indian writing in English. I have directed a Karnad script before, Wedding Album (2008), which has completed 200 shows and is still running. I am also restless and wouldn’t like to draw a line through my body of work and discover a sameness in theme. 30 Days in September (2001) deals with child sexual abuse, while Zen Katha (2004) was about Zen Buddhism. My next is a musical about a thumri singer from the 1900s. In case of Boiled Beans on Toast, it documents the sociocultural aspects of present-day Bangalore.

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What was your hook to enter the world of Boiled Beans on Toast?

I found no linear narrative, no beginning, middle and end. It is not a structured story with a normal theme of friendship or love and Girish brings his insightful and intelligent gaze into it. The characters bump into each other, talk, argue, reminisce, regret… There’s a guy who has come to the city and loves the traffic, the fumes of scooters, rickshaws and cycles. To him, all this spells progress. There’s an upper middle-class lady who complains that the flyovers are destroying the trees. Another lady is involved with an NGO and talks about her cancer hospice.

That sounds crowded.

There are sub-themes of rural aspirations, urban migration, environmental destruction and progress. These are not thrust forward. When a maid finds her upper-class employer crying because ‘another tree’ has been destroyed, she is flabbergasted. The audience may laugh along but, I hope, the underlying themes get absorbed.

How difficult was it to bring Karnad’s script on the stage?

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The script had 21 characters, some with hardly two lines, so I edited it. We had nine actors playing this. In the script, all characters speak in English but it was sounding artificial if the maids said things like ‘How awful’. I wanted the dialogues of the maids to reflect their background — they come from Tamil Nadu or the borders of Karnataka — through their accent and how they speak with incorrect prepositions. This gives their characters a regional flavour.

 

Dipanita Nath is interested in the climate crisis and sustainability. She has written extensively on social trends, heritage, theatre and startups. She has worked with major news organizations such as Hindustan Times, The Times of India and Mint. ... Read More

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