That's the original title of the first draft of a story I wrote recently. But I decided to paint a (deservedly) much brighter picture about how amateur theatre is basically the last refuge of the dramatically inclined in Hyderabad. The performances might still be crude in parts and lacking in finesse but they're the best bet this city has in developing an active theatre movement that will hopefully attract more talent to its doorstep.
Amateur Theatre – Key to the Future?
On a muggy evening in Hyderabad, members of the amateur theatre group Dramanon leave their respective workplaces and say goodbye to their mundane 9 to 5 existence, at least for the time being. They converge on an apartment whose living room furniture has been temporarily disrupted to make way for a makeshift stage. These people would have no reason to meet under ordinary circumstances – the director is an architect by profession, while the rest of the cast and team include mostly corporate employees, a software engineer, a financial consultant and a danseuse. However, at the moment, they are united by one common passion – a love for the stage.
The rehearsal that follows is often interrupted by casual banter, as everyone pitches in with their two cents. The atmosphere is clearly laidback, and while the performance is only a few days away, the focus of the evening is on just having fun. Director R.K. Shenoy confirms this impression, “For me, theatre is like therapy – there’s a certain release of energy. The aim is not just to entertain but also to know oneself. There is a certain sense of joy after a performance because it means I’ve communicated an idea. And if my actors are happy and get something out of the experience, that is the biggest incentive.”
Until recently, theatre in Hyderabad was limited to sporadic productions staged by a handful of local theatre groups. Or the occasional theatre festival which showcased plays imported from cities with a thriving theatre culture to their advantage. In Hyderabad, however, the theatre movement has been challenged by a certain degree of apathy as well as a lack of resources. In an effort to fill the void that local theatre enthusiasts sometimes lament, amateur groups have stepped in to reclaim theatre from the province of the few to the aspirations of far many. While some cynics tend to discount amateur theatre productions as sub-par and lacking in professional finesse, many have now begun to realise the immense potential that these groups carry in terms of sheer enthusiasm and a genuine desire to learn and showcase the art, especially in a city where theatre has not yet fully developed.
Comedy of Errors
As unfortunate as it sounds, most plays in this town simply need to follow a certain formula to get some attention. With the right venue, the right people in your cast, smart publicity and preferably an open bar, an audience and massive press coverage is just about guaranteed, sometimes irrespective of the true merit of the play. But with local media that is often less than theatre-savvy, a vicious cycle unfurls. As R.K. Shenoy puts it, “There is no newspaper, no magazine which covers a play and is truly critical about it. I’ve seen some of the worst plays and the next day, read great reviews on it. And when people go see it, they realise they’ve been duped. It’s no surprise that a play rarely ever has reruns in this city.”
If amateur groups anticipate an intelligent critique of their productions in an effort to improve their craft, they are typically disappointed. Recently, a local newspaper wrote about Dramanon’s performance of Neil Simon’s “The Good Doctor” but published photos of an altogether different play, in Gujarati no less, to go along with it! Firdous Shaikh of DFir Dramatics, a young theatre group that recently staged Mahesh Dattani’s “Bravely Fought The Queen” at the Hyderabad Theatre Festival relates a similar experience. “When all that a review does is report a play, newcomers lose interest. Actors I know say they don’t want publicity because it doesn’t help them build a serious portfolio,” she says.
Of course, the fact that local theatre is not yet fully appreciated is sometimes evident during the performances themselves. The incessant ringing of a cell phone in the back rows, the misplaced sniggers and murmurs as the actors take the stage or the juvenile laughter over slapstick gags – it’s evident that local performances are often not afforded the respect they deserve. Theatre groups too are often forced to succumb to their audiences’ rather generic tastes, which in turn keeps serious theatre lovers away. As one might expect, the situation discourages upcoming talent as well. Unappreciated and unnoticed, budding talent, amateur or otherwise, is bound to find greener pastures in television or film.
Creating New Avenues
Ratna Shekhar Reddy, a professional actor and acting instructor in Hyderabad, has been attempting to prevent just that. Hoping to sustain a growing theatre movement in the city, he has tapped into the enthusiasm of youngsters who are passionate about the art and see a future for themselves in theatre. As director of the recently concluded Samāhaara Hyderabad Theatre Festival, Ratna Shekhar offered five theatre groups in the city a visible platform to showcase their plays. As it turned out, four of the five plays shortlisted were by amateur theatre groups – Nishumbita, DFir, Dramanon and the Nasr Dramatic Society. “If only some professional outfits with money and pull in the media get visibility, other groups won’t be able to mobilise contacts or make money. We have to create our own audience.” he says.
Ratna first recognised the need to channel the energies of the youth when he began conducting theatre appreciation workshops in different schools. “In the last academic year, I did 20 theatre appreciation workshops in schools and colleges and got an overwhelming response. Except for NASR, most schools don’t have a theatre faculty. And yet there is all this energy and enthusiasm that needs an outlet.” Ratna Shekhar sees amateur groups as an excellent platform through which to discover one’s potential. “That’s because you’re not expected to deliver right away,” he says. “Over a period of time, it’s natural that you learn how to improve on the technical aspects and become better.” However, he insists that for amateur groups to hone their skills, professional assistance and an atmosphere of mentorship is a must.
Firdous who has directed two plays, besides assisting other amateur productions, paints a rather cynical view, “There are a lot of ego clashes between theatre groups – old and new – which is completely pointless. I want somebody who’ll guide me and not be patronising. If you’re a true theatre lover, then welcome young talent, don’t stifle it. What’s lacking in the city is people who know enough about theatre and have a genuine interest in making it better, instead of dividing themselves into groups.”
Although collaborations do happen, such as a recent reading of Woody Allen’s “God” which saw the established theatre group Torn Curtains collaborate with newer groups, such occasions are rare and often fly below the radar. R.K. believes that collaborations help artists on a more personal level. “I worked with Mala Pasha for one of her plays recently. Vaishali Bisht had worked for me. The idea is to explore the possibilities of being directed by someone else, to explore other avenues. Nobody should be bound by a certain group,” he reflects.
Theatre lovers also bemoan the absence of a committed venue for theatre in the city. “Bangalore has its Rangadhara, Mumbai has Prithvi. All theatre groups want to perform there because they know they will have an audience, no matter what day of the week.” says Ratna Shekhar, “Hyderabad still lacks that. Many theatre groups in the city have been trying to persuade the government to build an auditorium dedicated to theatre, apart from the Ravindra Bharathi where a wide variety of programmes often lead to theatre performances being sidelined.”
A Part to Play
For now, amateur theatre in the city is being kept alive by professionals and the younger college crowd. Firdous believes theatre has given many youngsters in the city a real sense of direction. “Kids here are really lost,” she reveals. “You’ll find 22 or 23-year-olds completely wasting away because college is not interesting enough, the economy is in a mess and there is literally nothing productive to do with our time, if you count out nightclubs and call centres. Theatre has given them something to do.”
Dramanon, which mostly works with young professionals, is actively seeking to change the way people in the city look at theatre. R.K. holds open auditions for his plays, selects 15-20 actors and then conducts a one-week workshop with them. “I’ve worked with people who’ve never even watched a play in their lives, let alone acted in one. At the end of the workshop, five to six actors get selected. But the rest are happy just having been initiated into the world of theatre. It’s a great way to spread awareness.”
Ratna Shekhar, who runs The Actor’s Studio in Banjara Hills, also conducts regular workshops and classes to train actors. “Theatre is losing great talent because it’s not viable. What we need to do is train actors, give them avenues to perform and help them make money. If theatre is to prosper, the artist has to earn. Many amateur groups consist of corporate employees who take out time to do plays. But imagine how much better the output would be if they dedicated themselves to it full-time.”
It’s apparent that the theatre scene in Hyderabad has a long way to go before potential theatre artists are motivated to pursue their passion as a financially viable career. It has certainly happened before, as Ratna Shekhar reminds us. Evam, the popular theatre group from Chennai, originally consisted of young professionals who started staging plays in their free time. Soon, however, they quit their day jobs, and their dedication over the past four years has today made them an over two-crore theatre company.
Hyderabad does have one unique cosmopolitan advantage - the constant influx of people arriving from cities that nurture a richer theatre culture will hopefully help theatre come into its own in this city as well. Spreading awareness, acknowledging talent and, most importantly, supporting their cause will ensure that amateur groups can shed the tag and help bring theatre in the city to a whole new level.
Originally published in You & I Magazine, Hyderabad
