Gandhi and Ambedkar thrash out differences

The `revisionist’ phenomenon, to which the play subscribes, dates back to pre-Independence musicals on Bal Gangadhar Tilak and more recent one-act plays on Ambedkar. But, perhaps this latest addition is the most challenging of the lot, as the play is based on a serious dialogue between the two figures. Gandhi Virudh Gandhi was a family conflict between an extraordinary national leader and his son. As is obvious, the father-son emotional conflict sustained a three-hour play. The Hindi and English versions of the play which followed in quick succession are indicative of the emotional appeal of the theme.But, Gandhi-Ambedkar is devoid of emotional frills. Playwright Premanand Gajvi creates a common meeting space, obviously imaginary, in which Gandhi and Ambedkar thrash out their innate differences. The box set is divided into two, with opposite corners dedicated to the leader. Minimal sound effects, lighting arrangements and symbolic props are used. The actors playing Gandhi (Mangesh Bhide) and Ambedkar (Kishore Kadam who played Harilal in Gandhi virudh Gandhi) do not even remotely resemble the two national heroes. As director Chetan Datar puts it, “The aim is purely academic. We just want to examine why these noble leaders, holding the common object of social service, never worked in unison. We want the audience to dispassionately examine the differences between Gandhi and Ambedkar, especially on issues like the allocation of separate electoral constituencies for Dalits and Ambedkar’s religious conversion.”

Datar said that Bhide and Kadam were specifically instructed not to waste their energy on conjuring up any physical resemblance to the protagonists, but to read books on the leaders. In fact, Bhide was initially advised to knock off some excess weight, but the exercise failed!

In order to make the play interesting, the playwright has created the character of a vidushakh who asks uncomfortable questions to both the leaders. The clown, played by Bhakti Barve-Inamdar, pins down Gandhi on the latter’s support to caste system in the Hindu religion, whereas criticises Ambedkar for his failure to become part of the `Quit India’ movement. The clown not only provides an opportunity to the audience to take the leaders to task, but also gives a fair chance to both the leaders.

It is quite obvious from the dialogues that the play has been scrutinised by contemporary historians like Nalini Pandit and Y D Phadke, who are specially mentioned in the acknowledgements. No wonder, the play does not dwindle into political rhetoric or sabre rattling. Interestingly, the play has endured 50 censor cuts.

Like Gandhi virudh Gandhi, this play too is not doing well at the box office. As producer Lata Narwekar puts it, “I don’t expect it to run to houseful shows…it’s a risk that I am willing to take. But, even if I am able to attract 100 people per show, which do not include the invited guests, I will have achieved my target.”

Narvekar calls this play “her contribution in the celebration of 50 years of Indian Independence.”