The Curtain Rises Again

A scene from Savarare But the Nineties saw a lull and many would agree the Marathi stage saw a pathetic de...

A scene from Yadakadachit, a satire on the Mahabharata; Ghashiram Kotwal which staged 800 shows between the 1970s and 1980s and which placed Marathi theatre on the world map

It was only a decade ago that Marathi theatre peaked and saw its most glorious, surcharged period, with forward-looking playwrights, directors, artists and technicians blazing the stage. Its experimental theatre was unparalleled at the time. They were helped, not in the least, by an enlightened audience, who thronged auditoriums in schools, local clubs and big, commercial halls, stretching from Mumbai to Kolhapur.

It is easy to recall the stalwarts 8212; Vijay Tendulkar, PL Deshpande, Vasant Kanetkar, Jayavant Dalvi, Mahesh Elkunchwar, Satish Alekar; complementing the playwrights were progressive directors like Vijaya Mehta, Jabbar Patel, Amol Palekar, Jaidev Hattangadi, Waman Kendre, Vijay Kenkre, Vinay Apte, Chandrakant Kulkarni, Atul Pethe, whose works spell volumes of their integrity, creativity and appreciation of theatre. And, of course, talented artistes like Mohan Agashe, Shreeram and Deepa Lagoo, Rohini Hattangadi, Amol Palekar and many others who kept the flag flying.

A scene from Savarare

But the Nineties saw a lull and many would agree the Marathi stage saw a pathetic decline in quality theatre, with cheap slapstick comedies and musicals ruling the box office. For a theatre which was constantly evolving since the late 19th century, what brought this dramatic decline?

Television, many observers say emphatically. The 1990s witnessed the advent of a clutch of Marathi television channels and drew promising and leading Marathi actors, directors and scriptwriters, from the stage to the studio. The result: audiences now preferred to stay back at home and watch quality serials while theatre appealed to the taporiwalla. It was only natural that writers and directors catered to the changing audience.

A scene from Surya Pahilela Manoos, one of the few remarkable plays of the 1990s

Experts, however, rue that despite the decline in quality, Marathi theatre sustained itself during the lean period between 1990 and 2000, without being obliterated completely. It adapted itself to the new audience and theatres still did not go empty.

Says Mohan Agashe, 8216;8216;Marathi theatre was never dead, unlike in Bengal, where theatre is gasping for breath since there are no writers today.8217;8217;

Mahesh Elkunchwar, venerated Marathi playwright, who has written scripts and plays like Party, Atmakatha and Wada Chirebandi, is equally dismissive about any criticism. 8216;8216;Television has not pulled us away. Five generations of playwrights, from Vijay Tendulkar to Paresh Mokashi, are consistently writing and writing good stuff. The problem with people is that they expect every new play to be Hamlet and every playwright to be Shakespeare. It is an unrealistic expectation.8217;8217;

Shreeram Lagoo, seated, is the protagonist

Detractors like Sudhir Gadgil, noted television compere and theatre critic, firmly believes Marathi theatre has taken a beating in terms of quality, although it has begun to look up now. 8216;8216;The Chabildas Movement which began in the Chabildas Union High School in Mumbai in the 1970s which created professionals like Amol Palekar, is completely obliviated today. The Theatre Academy, the most high profile theatre group of Maharashtra, has not staged a new play in the last five years. The Maharashtriya Kalopasak is now confined to the annual Prushottam Karandak 8212; inter-collegiate plays. Also, we lost an entire generation of writers 8212; from Pu La Deshpande to Vasant Kanitkar. Writers like Suresh Khare and Shanna Navare have stopped writing plays. Of course, new experimental theatre outfits have mushroomed but they lack the dedication and the passion.8217;8217;

The Chabildas Movement of the 1970s which created the likes of Amol Palekar is obliviated today. Theatre Academy, the famed Marathi theatre group has not had a new play in five years
8212; Sudhir Gadgil, Theatre critic

But there is a silver lining to the dark, gloomy clouds. Marathi theatre is beginning to emerge once again in its splendour. For starters, Theatre Academy has suddenly jumped to life and alongwith Loksatta, is organising a state-level one-act play competition in Pune. It has certainly injected new vigour 8212; 43 talented theatre groups from all over Maharashtra and also one from Panaji, Goa will participate in the competition, and all participants have to present a new script. Says Prasad Purandare, President, Theatre Academy, 8216;8216;We hope to make this contest a benchmark for serious theatre groups.8217;8217; Several noted actors and directors are also making a comeback to theatre from television, the most notable being Nana Patekar, Vikram Gokhale, Mohan Agashe and Shreeram Lagoo among others. 8216;8216;It is wonderful to see them take to stage again,8217;8217; says V B Deshpande, another well-known critic. 8216;8216;They realise nothing can beat performing before a live audience and the satisfaction in rendering a flawless performance is the ultimate high. So, Marathi audiences, whose heart and soul is theatre, is stepping out, with these new signs of quality coming in.8217;8217;

Story continues below this ad

The main thrust today is on professional theatre with a realistic mix of both slapstick and serious plays. Newcomers like Santosh Pawar, Abhiram Bhadkamkar, Yogesh Soman among others are keeping the flame alive. Experimental theatre is also doing fairly well, despite its limitations. And groups like Rangavardhan serve as a perfect platform for bringing together diverse theatre groups for cultural dialogue and interaction. The State Government has also opened the much awaited Kala Academy in Mumbai, in honour of the late P L Deshpande. These are favourable signs that show all is not lost, say the venerables with relief. It is only a matter of time before Marathi theatre will see a renaissance once again, they exhale.