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Twenty-nine years after it was first set up, Prithvi Theatre continues to be the only platform that celebrates theatre and Sanjna Kapoor its loyal torchbearer

From backroom ideas to audience applause8212;that8217;s probably the most daunting challenge for anyone associated with theatre. But Sanjna Kapoor knows how to face up to such challenges. As the curtain comes down on the Prithvi Theatre Festival, Mumbai Musicals, Kapoor has scored again.

Assembling a dozen musical plays for the 11-day festival was no mean task, given the high production cost, dwindling number of singer-actors and unavailability of musicians, who have switched to television and films. With nearly 25 groups approaching Prithvi with their melody-interspersed scripts, it was Kapoor8217;s turn to be surprised.

8220;Our condition for the participating groups was to use live music. We were surprised to find that hardly any recorded music sneaked into the Prithvi auditorium,8221; says the director of Prithvi Theatre, who has been at its helm since the 8217;90s.

But the face that has launched several plays has a huge regret. 8220;We thought Prithvi Theatre would be an inspiration. But in the last 29 years, the city has not got another Prithvi. If we had six such venues for theatre, we could have done so many other things. But I don8217;t see that happening anytime soon,8221; says Kapoor. Every year, she receives nearly 50 applications from new groups to perform at the theatre. But accommodating them is not always possible with Prithvi8217;s schedule already crammed with 400 shows a year.

Running Prithvi8212;built by Shashi Kapoor to realise his father Prithviraj Kapoor8217;s dream8212;has been a 8220;huge responsibility8221; and Kapoor has often wished 8220;this baby will grow up and leave home8221;. Of late, however, its administrative operations have been streamlined, says Kapoor, tucking into sev puri which has made its way to Prithvi Cafeacute;8217;s revamped menu along with pani puri and pav bhaji. The cafeacute;, which has been the favourite hangout of most theatrewallahs in the city, too, is being renovated. However, it is reassuring that these are probably the only changes that Prithvi is going to experience.

This year, Prithvi festival was restricted to its Juhu address, though replete with platform performances, musical conversations and lecture demonstrations. 8220;We would have loved to take it to south Mumbai, but for the funds,8221; the 40-year-old Kapoor scion says. Financial constraints, however, have not stopped her from planning to take Mumbai Musicals to other parts of India early next year. The size of this foot-tapping ensemble of plays and its future destinations, however, depends on the funds the group can generate.

Over the years, Kapoor has always tried to push Prithvi8217;s boundaries. Originally meant to promote Hindi theatre, Prithvi now hosts plays in four languages, monthly meetings of PEN India, Vikalp8217;s documentary screenings and Katta sessions where discussions on Marathi theatre is held. In January, Kapoor plans to resume monthly staging of a bouquet of Marathi plays. Before that, Horniman Circle Garden will end its monsoon break and turn into a venue for plays again as part of a Prithvi initiative.

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As the interview winds up, a man, whom I have often spotted lounging near the theatre, approaches Kapoor. 8220;He is unwell. He used to be a sweeper in this area. Now, he has adopted this place,8221; explains Kapoor, as she asks someone to take him to a doctor.

Obviously, for Kapoor, who has co-authored and photographed for two wildlife books, The Ultimate Guide to Ranthambhore National Park and Bridge of God on Masai Mara, actions don8217;t end with theatre.