Rajat Kapoor on directing plays and films: ‘They are vastly different worlds’

Theatre has a unique appeal, and fortunately, the type of work I do still draws audiences, says Kapoor, who blends classical theatre with contemporary themes in his storytelling.

Having previously directed Shakespearean tragedies like Hamlet, King Lear, and As You Like It, Kapoor often incorporates clowns into his productions for a fresh, challenging twist.

He applied this approach to his recent play What’s Done is Done, a Macbeth-inspired piece starring Ranvir Shorey, staged at the fifth edition of the Delhi Theatre Festival.

In an exclusive interview with indianexpress.com, Kapoor reflects on his theatrical journey, his creative exploration of storytelling across mediums, and the power of art to inspire social change.

Q: How have your experiences in theatre, film, and writing shaped your creative process for storytelling?

Rajat Kapoor: Everything you do draws from the entire reservoir of knowledge and experience you’ve built over time. But, you’re always pushing yourself to do a little more than what you already know—that’s what drives growth. Artistically, you’re constantly reaching for something new, and that’s where instinct and the subconscious come in. Through storytelling, you arrive at new experiences, which then become part of you, expanding your creative horizons. It’s an ever-evolving journey, and always exciting––never a dull moment.

Q: You’ve had experience directing plays and films. How do you perceive the differences between the two mediums?

Rajat Kapoor: Theatre and film are entirely different mediums. The only commonality is the presence of actors. Film is very much the medium of the camera––creating imagery through the camera, sound, lighting, and editing, which don’t exist in theatre. Theatre, on the other hand, thrives in the world of the non-existent, if that makes sense. In film, you need real objects and spaces; in theatre––which exists in a void––you create everything from nothing. Confusing the two is a big misconception—they are vastly different worlds.

Q: How does your process of shaping a story differ between filmmaking and live theatre?

Rajat Kapoor: Definitely. In films, the script is just the beginning. The process evolves through pre-production, casting, location scouting, and deciding on costumes, colours, and objects, and even after shooting, the film continues to evolve through months of editing, where you refine the narrative with sound and visuals. Theatre, however, doesn’t have that luxury. You rehearse for a few months and then perform live. In my case, since we often devise original work, you don’t always know where you are going to land. It’s a risky but exciting process, and the collaboration with actors during rehearsals is what shapes the story.

Q: Speaking of collaboration, actors in theatre often have more creative freedom. How do you collaborate and balance their creative input while ensuring that your vision for the play remains intact?

A picture of director Rajat Kapoor with the cast of What’s Done is Done. (Source: Ranvir Shorey/Instagram)

Rajat Kapoor: My vision evolves through collaboration with the actors. I don’t start with a fixed plan—just a vague idea, like wanting to do Macbeth with dark, scary clowns. The specifics come through improvisation with the actors, who have the freedom to explore the story. They’re allowed to take the story wherever they want, and I work with them to shape and edit the material. It’s a very open and evolving process.

Q: What inspired you to reinterpret Shakespeare’s timeless tragedy Macbeth as What’s Done is Done for the Delhi Theatre Festival?

Rajat Kapoor: I’ve done a few other Shakespeare plays before—Hamlet, King Lear, and As You Like It. For all the tragedies, we incorporated clowns, which was a fun and challenging take on Shakespeare. We have adopted a similar approach for What’s Done is Done.

Q: How do you ensure these classic works reflect contemporary Indian society? Do you feel there’s a barrier between the characters and today’s audience?

Rajat Kapoor: Absolutely. I believe everything we create has to reflect who we are today. Shakespeare wrote his plays 400 years ago, but people still perform them because they remain relevant. I don’t want to stage a play that feels stuck in history. By placing it in the present, you allow the text to engage with today’s world and bring a fresh perspective.

Q: How do you attract audiences back to the theatre in the evolving entertainment landscape with digital platforms like YouTube and OTT platforms?

Rajat Kapoor: Theatre has a unique appeal, and fortunately, the type of work I do still draws audiences. There’s something special about live performances that film or digital media can’t replicate. Our shows often sell out quickly, but I do wish more people could experience theatre—ticket prices can be quite high, which makes it inaccessible for some.

Q: Lastly, what about theatre continues to inspire you, and how do you see it as a platform for social change?

Rajat Kapoor: All forms of art can drive social change. Art is a way to question, to challenge the status quo, and even if you don’t have all the answers, just raising those questions leads to change. Whether it’s political, social, or philosophical, art forces us to confront difficult truths. Theatre, in particular, allows us to explore our humanity, and that’s why it will always be a powerful tool for transformation.