April 2020

ON Stagevolume 9 • issue 9

The SOI A Small Family Business Academy Orchestra A drawing room play unlike any Mudra Dance Festival A blossoming ensemble Showcasing iconic choreographies

Cover Final.indd 1 17/03/20 12:27 PM NCPA Chairman Khushroo N. Suntook

Editorial Director Radhakrishnan Nair

Editor Snigdha Hasan tets(Please note that due to the spread of Coronavirus, all programmes are subject to change. Consulting Editor Please check our website and emails for updated information. ) Vipasha Aloukik Pai

Editorial Co-ordinator Hilda Darukhanawalla

Art Director Tanvi Shah

Associate Art Director Hemali Limbachiya

Advertising Anita Maria Pancras ([email protected]; 66223835) Tulsi Bavishi ([email protected]; 9833116584)

Senior Digital Manager Jayesh V. Salvi

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Editorial Oce 4th Floor, Todi Building, Mathuradas Mills Compound, Senapati Bapat Marg, 13 Lower Parel, - 400013

Printer Features Spenta Multimedia, Peninsula Spenta, Mathuradas Mill Compound, N. M. Joshi Marg, Lower Parel, Mumbai – 400013 of the resounding success of the SOI’s Materials in ON Stage cannot be reproduced in recent tour to Delhi and Bengaluru. part or whole without the written permission 08 Re ections of the publisher. Views and opinions expressed Musical memories. By Anil Dharker in this magazine are not necessarily those of the publisher. All rights reserved. 16 Grand Harmonies NCPA Booking Oce The SOI Spring 2020 Season featured 2282 4567/6654 8135/6622 3724 10 the heart of the classical repertoire in A Sound Footing www.ncpamumbai.com the music of Mozart and Beethoven, the In the founding of the SOI Music festivity of theatre musicals, the Indian Academy, the NCPA made an unparalleled premiere of a concerto that calls for contribution towards shaping future communal harmony and a stellar roster of musicians in the Western classical tradition. world-class musicians. Its upcoming concert is testimony to eight years of concerted e orts that have begun to bear fruit. 21 How Not to Pickle Composers The Resident Conductor of the 13 Symphony Orchestra of , Mikel Going Places Toms, takes a moment out of rehearsals Standing ovations, encores and a growing to consider the point of it all, as he asks realisation of the hunger for Western and answers an important question: classical music in the country were all part why do we rehearse at all?

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22 On a High Note Choirs from around India will converge at the rst edition of the India World Choral Festival (IWCF) for an intriguing line-up of concerts, workshops and lectures. By Beverly Pereira 24 Seminal Moves As prominent artistes of various classical dance forms prepare to present much-loved choreographies by veritable 32 masters at this year’s edition of the NCPA Mudra Dance Festival, two-part series, eminent we nd out what the word public intellectual Jawhar Sircar ‘iconic’ means to them when it takes a look at the evolution of 24 comes to choreography. ancient Indian dance forms that By Sunayana Mohanty accentuated classical traditions while also reconditioning them 28 for modern India. Ignited Minds A student production based on ’s Hindustani translation 41 Performing Arts: of Dr. A.P.J. Abdul Kalam’s Stand-up Comedy autobiography brings the Comedian and writer Anuvab former President and visionary’s Pal chronicles the journey of his inspiring life to stage. show on the British Empire, from By Snigdha Hasan the NCPA to the BBC. 32 46 Family Matters Kaleidoscope Akarsh Khurana’s adaptation Your window to the latest in the of British playwright Alan performing arts across India and Ayckbourn’s acclaimed work, the world. A Small Family Business, builds a universe of its own with Goan and Punjabi characters, a 48 posh Delhi setting and topical Archives: The Keen Observer references. By Krutika Behrawala In the second instalment of a three-part story, discusses performances that forced him to re-examine his 36 belief in what was possible to The Multicultural Man achieve on stage. Jazz pianist and composer Dan Costa has received much Follow us on: critical acclaim for his musical 50 sensibilities and his ability to facebook.com/NCPAMumbai Programme Guide be cohesive and eclectic in A guide to all the events equal measure. By Anurag Tagat @NCPAMumbai happening at the NCPA in April. @NCPAMumbai 38 58 youtube.com/user/TheNCPAMumbai1 How Modern India What’s Next Reinvented Classical Dance What to expect in the following We look forward to your feedback and suggestions. Please do drop us an In the rst part of a months. email at [email protected].

Contents.indd 6 18/03/20 12:14 PM THEY CALL HIM MUD CONCERT

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SOI Music academy.indd 10 17/03/20 11:55 AM A Sound Footing In the founding of the SOI Music Academy, the NCPA made an unparalleled contribution towards shaping future musicians in the Western classical tradition. Its upcoming concert is testimony to eight years of concerted eorts that have begun to bear fruit.

n 2006, when the NCPA Chairman Mr. Khushroo N. Suntook and violin virtuoso Marat Bisengaliev founded the Symphony Orchestra of India (SOI), the country’s first and only professional orchestra,I it paved the way for another first. With no conservatories or dedicated schools of Western classical music in India, how was the orchestra to have a fair representation of local musicians in the long run? “Give me eight years and I will bring the Indians in,” said Bisengaliev and the next logical step followed. The SOI Music Academy (formerly the NCPA Special Music Training Programme) was founded in 2012 with an aim to develop the musical potential of young talent in India. Just as having no precedent was Young musicians of the not allowed to become a stumbling block to the SOI Academy Orchestra with Marat Bisengaliev quality of orchestral playing by the SOI, care was taken to do everything right with the SOI Music Academy, too.

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SOI Music academy.indd 11 17/03/20 11:56 AM throughout the intensive programme, which includes substantial one-on-one lessons for the student’s primary instrument as well as second-study piano lessons, music history, music theory, group-singing teaching via the Solfeggio method, along with training in orchestral playing and chamber music. While a platform to perform before an audience has obvious rewards for the students, what lies in store for connoisseurs of Western classical music, otherwise accustomed to concerts by “Organising such a concert is an maestros at the NCPA, when they come for student concerts? opportunity for me and my team to show “Organising such a concert is an opportunity for me and my team to our vision of music education without show our vision of music education without compromising on quality, compromising on quality” so attending the students’ concert should give the same enjoyment TRADITIONAL TRAINING as listening to the professional orchestra. Of course, Under the expertise of Bisengaliev, and rigorous training our students cannot produce the same depth of the by several musicians from the orchestra who serve as full range of instruments in the SOI, but the technical faculty members in the academy, students have been and musical aspect is always the top priority and I can receiving holistic music education inspired by the assure the audience that the demand on the quality of Russian Conservatoire method. With five graduating the performance is as high as it is for our professional students this year, top honours across three categories musicians,” shares Bisengaliev. at a recent international music competition and two When asked about how he sees the progress of international concerts in 2018, the academy has begun students over the last eight years, he replies, “The to come into its own. progress is for anyone to see during the concert. I’ll Academic rigour aside, performance opportunities leave it to the audience to judge as the proof of the remain integral to the programme; the annual concert in progress lies in the performance.” April, presented by the SOI Academy Orchestra under the baton of Bisengaliev, being a highlight. With over PRECIOUS OPPORTUNITIES 25 students performing this year, some of whom have The thrill of a concert aside, coming to an organisation been selected to play as soloists with the SOI, rehearsals where classical music flows through its rehearsal are on in full swing, where teachers take students rooms is an experience in itself, considering one through the nuances of playing collectively. “You must might just find Maria João Pires chiselling away at a listen to each other and learn to join in intuitively,” Beethoven sonata in the Little Theatre, all by herself. Bisengaliev instructs the violinists, as another teacher The metaphor turned only too real recently when the helps the flautist get a tune right. “What you played was legendary pianist was at the NCPA for the SOI’s Spring technically correct, but it needs more soul. Let’s give it 2020 Season. Recitals and concerts aside, she found another try,” he encourages the timpanist. time to meet starry-eyed students of the academy for “The repertoire has been chosen through endless whom memories of the encounter are unlikely to fade discussions with the teachers and specially arranged away anytime soon. to suit every pupil’s capability, and of course, make Bisengaliev sums it up aptly when he talks about sure that they enjoy performing that music,” says the academy’s contribution to the strengthening of Bisengaliev about the programme for the evening, the Western classical music tradition in India. “I feel which includes Air by Karl Jenkins, the theme from that the academy will be an everlasting legacy of Pirates of the Caribbean, Statue of Lully and Clap Your our chairman Khushroo Suntook, and our team of Hands. “We scrupulously choose the best performing musicians. The biggest challenge is to persuade our soloists for these concerts. We are also very strict graduates to choose Western classical music as their about who is allowed to participate in the academy career choice. I really hope we succeed.” orchestra,” he adds. The SOI Academy Orchestra will perform under PROGRESS AND PERFORMANCE the baton of Marat Bisengaliev on 18th April at the Adherence to quality, in fact, is a practice followed Tata Theatre.

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SOI Music academy.indd 12 18/03/20 2:24 PM ARCHIVES

e Keen Observer ON Stage brings you excerpts from the NCPA Quarterly Journal, an unsurpassed literary archive that ran from 1972 to 1988, and featured authoritative and wide-ranging articles. In the second instalment of a three-part story, Vijay Tendulkar discusses performances that, through powerful voices, meaningful silences and technical treatment, forced him to re-examine his beliefs in what was possible on stage.

I never saw Natvarya Nanasaheb Phatak was embodied in the voice and the words When actions speak louder in his prime. But I did see him act in his compelled us to forget the discordant I was to learn later that a performance later years and, in one performance, I and insipid spectacle on the stage. At that could speak with u er truth and do it witnessed something that I’ll never forget. moment, I did not see the aged Phatak and exceptionally well, without sounds or A play by Kamatnurkar called Shree, the actor who played the role of his father. words, in total silence, literally banishing presented by Lalitkala-darsha, with noted Before me stood a tender and sensitive them from the theatre. A French mime actors like Bhalchandra Pendharkar, youngster and his stern disciplinarian of artiste named Marcel Marceau was Chintamanrao Kolhatkar and Master a father. Towards the end of his speech, performing in Bombay. Today the word Da aram in the cast. Phatak was doing Phatak felt he had said a sentence wrong. ‘mime’ is familiar enough in our theatre the role of the young Kusumakar, still In trying to say it right, he said it wrong and circles. In those days, the word was not in his twenties. He had played the part a loud ‘tch, tch’ rose from the audience. unknown but still a stranger to us. I years ago when the play was rst staged. en derisive laughter. Phatak retreated went to the performance, curious to nd He was young then; now he was an old into the earlier ‘detached’ a itude and the out what ‘mime’ was all about. e nal man, and looked it. His heart was not play bundled to a close. performance (in Bombay) was at the in the performance. e other Birla Matushree Sabhaghar and actors performed with the utmost I managed, with diculty, to get sincerity. He, on the other hand, Marcel Marceau’s performance a seat in the last row. Between was listless, coming in, going me and the stage was a mass of out, saying his lines without a forced me to re-examine the spectators. It was a full house. icker of energy or interest. As medium of theatre, and to e performance began with the performance limped on, one of Marceau’s associates the veteran actor increasingly pay a ention to its non-verbal standing silently on the stage, became a target of the audience’s carrying a board on which was displeasure. e other artistes components wri en a single word, conveying were seen desperately trying to the theme of what was to follow. hold the play together while Phatak was in Of course, theatre is an illusion. But en Marceau enacted it, without words the process of demolishing it. there can be a false and a true illusion. or sound. He had no aids except his All of a sudden, an actor’s voice had cast body. No sets, props or actors playing A moment of truth its spell on us. Right before our eyes, other roles. e body was clothed in en came a scene when Kusumakar, who the performance transcended all kinds tight- ing, stretch clothes. e face was has le his home at a tender age, returns. of barriers to become a ‘true’ illusion. smeared with white – like a clown’s. He is now a criminal, and is hiding e voice held us for the time being, e performance started with simple, behind an almirah in his own home. conveyed to us a real hurt. So real that everyday situations. Walking, walking He hears his father speak to someone the jarring and ugly spectacle on the fast, climbing. Walking in the face of about his misdeeds. e remarks wound stage disappeared and the voice created a storm, with its whirl and roar, and Kusumakar to a point where he emerges another vision – that of our imagination. dragging every step. Marceau was out of his hiding place and says, “I wasn’t e voice we heard at that moment ‘walking’ glued to a spot – demonstrating like that. I didn’t want to be a criminal. You was neither theatrical nor jaded; it was every manner of walk. What he expressed made me one.” It was a longish speech… vibrant and true. I encountered here was the human determination – at times e elderly Phatak, quite unconvincing another element of the magic of theatre. a mindless determination – to walk in in the role of young Kusumakar, faced his False theatre, true theatre. What’s real in the teeth of opposition or adversity. father, who, in fact, looked young enough the play, and what’s real in actual life. e en Marceau became the cyclist in love to be his son. Phatak began the accusation ‘real’ in the theatre (for the time being) with his bicycle. Of course, there was no – his words faltered at rst – and suddenly eclipsed the ‘real’ in actual life. e bicycle. He created its presence through they sounded true. e heavy and hoarse voice, and the voice alone, triumphed his movements. He oered a glimpse voice became (heaven alone knows how) over what was visible to build a total of the small, charming details of this tender, spontaneous. I don’t recall what illusion. Granted that theatre is a visual relationship. He got on this false bicycle happened aerwards. But the voice I medium but pure sound (nada) or words and rode it with uid ease. Avoiding remember – coming in waves, piercing can sometimes on their own bring life collisions, he cycled with skill and caution the heart. A plaint, a bleeding wound, into a play and even keep it alive. through a crowded thoroughfare. He

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48 FOB Archives.indd 48 18/03/20 3:37 PM negotiated a climb, then a steeper yours.” Or something to this eect. climb with increased dexterity, She walked out of the house with panting a li le later because of the the hero. Again, the lights on the unbearable strain on his body. He stage were extinguished. was bathed in perspiration…At In a few seconds, the lights came long last, relaxed and carefree, he on. e heroine was standing at the wheeled down a slope. door of the kitchen. Motionless like e audience (and they were not a statue. Silent. She was staring at ‘experts’) sat enthralled by this slim the door through which the hero had body and its movements. ere were le. Her father and the dependent no props, the face was masked and were watching the scene as though not a sound was u ered on the stage. nothing had happened. In any case, For an hour and a half, Marceau nothing was going to happen now. conducted a genuine dialogue with Actually, nothing happened more than a thousand spectators. He and yet, a lot did happen. Nothing communicated experiences of life at happened but a lot did happen for various levels. He made us laugh, he an instant in the girl’s imagination – had us stricken with fear. He made something that the audience wanted us sit up and think. He was a cyclist, to happen, what they actually did a studio photographer, a man-about- see happening before them – but town, a submissive husband leading then it never did happen. And what a dog by the leash, a sculptor. en was communicated to me was the Chaplin, David and Goliath. All this heart-rending chasm dividing the in those same tight- ing stretch two. at the heroine’s mental dam clothes. rough the sole medium of was breached, that she walked out his body. With the clown-like mask on the I had witnessed the staging of Kaksha with the hero towards a be er future was face and remaining practically at the same (Boundaries) by Tara Varanase. It was depicted on the stage and immediately spot throughout… the story of a girl who had decided to aerwards, through a change in the light Time, space, distances, people, things devote her life to her parents. A young arrangements, she was shown, still in her were all absent, but made real by a touch man of rather ordinary calibre, a kind of father’s house, weak and defeated. e of mime. e performance astounded dependent in the household loves her, awareness of her situation was frightening. me. In the days that followed, I felt an but she doesn’t care for him. She is in love And it had been eected by an ordinary aversion for words. I didn’t want to hold with an intelligent and handsome young technical device. a pen in my hand, to mouth words. I felt man. But she doesn’t have the courage It’s not a novel technique and it wasn’t that nothing spoken could be as eective, to marry him and leave her home. So so unusual to employ it – even in those direct and unadulterated as Marceau’s she is afraid to express her love for him times. But the performance le an imprint mime. is body language could vanquish in words. e young man senses her on my mind. e hero le and what the words. It was universal, basic and poetic. feelings, would like her to respond and girl felt was directly communicated to me ough it a ained philosophical levels, agree to marry him. Since this has not without words. it was accessible to all. It was so simple happened, he is annoyed with her. He e performance set me thinking. How to understand. So, why use words at all? gets his medical degree and decides to can one translate into another medium Words tended to confuse: what you had to go abroad. He comes to her house with this ‘experience’ which the spectator say couldn’t be communicated as lucidly sweets (to celebrate his passing the exam), undergoes in theatre? It cannot be as Marceau could and it might even be lost distributes them, and when he oers some achieved in this living manner in a novel, a in passage. to her, says a li le bitingly, “I’m going.” poem, or a painting. e cinema, believed e writer in me felt deated aer e last scene was being enacted. e to be a more potent medium than theatre, Marceau’s performance. I realised the girl stood at the door of the kitchen. Her cannot evoke this ‘experience’ in the limitations of my medium. is sort of father and the young man (the dependent) spectator. e experience can be ‘related’, realisation is necessary. It’s a corrective, were in the centre of the stage. e hero ‘explained’ and eectively ‘portrayed’. alerting you to the euphoria created by was on his way out, at the door. But in the medium of lm, the experience words. You begin to use them with care At this point the light on the stage was cannot be simultaneously evoked on the and a sense of responsibility. You become extinguished. It came on again – almost stage and among spectators. is can aware of a meaning that lies beyond words. at once. e heroine called out to the only happen in theatre. e performance You think of ways of capturing it without departing hero: “Wait.” e father and of Kaksha reinforced my faith in theatre words. In short, Marceau’s performance the dependent stared at her in surprise. and demonstrated this distinctive power forced me to re-examine the medium of e hero stopped at the door. She began of the medium. theatre, and to pay a ention to its non- to speak, pouring out her love, her verbal components. suppressed passion. She raged against is article rst appeared in its entirety her own defeatist a itude and stepped in a special issue of the NCPA Quarterly A visceral experience forward with stern resolution to take the Journal in September & December 1982 A li le before Marceau’s performance, hero’s hand. “Take me with you. I am (Vol.XI, Nos. 3&4).

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48 FOB Archives.indd 49 18/03/20 3:37 PM Programme Guide (Please note that due to the spread of Coronavirus, all programmes are subject to change. Please check our website and emails for updated information.) April 2020

THEATRE INTERNATIONAL MUSIC DANCE MULTI ARTS & PRESENTATIONS

INDIAN MUSIC WESTERN CLASSICAL MUSIC FILMS / SCREENINGS PHOTOGRAPHY & EXHIBITION

INDIAN MUSIC Dilshad Khan, 4th, Godrej Dance Theatre Saz-e-Bahar Festival of Indian Instrumental Music Godrej Dance Theatre Friday, 3rd & Saturday, 4th - 6.30 pm

An NCPA Presentation

The Indian subcontinent abounds in a Mohi Baha’ud-din Dagar, 4th, Godrej Dance variety of musical instruments, and a Theatre considerable specialisation is displayed Ronu Majumdar, 3rd, in instrumental usage. Instruments Godrej Dance Theatre present music solo, provide melodic or rhythmic accompaniment, or produce learning tabla from stalwarts like Niazu drones. The ninth edition of this Khan, great grandfather Mohammed two-day festival will showcase four Sha Khan and father, Hashmat Ali instrumentalists wielding instruments Khan of the Ajrada gharana. He has, from di erent categories – string- to his credit, a large number of solo plucked (rudraveena), string-bowed performances at home and overseas. and his grandfather, Gulab Khan, in (sarangi), wind-blown (bansuri) and Having performed with some of the the tradition of Sikar gharana. With drums-percussion (tabla). best Indian musicians, Khan is also an outstanding control over the popular as an accompanist. Following technique and idiom of sarangi, Khan On each day at 6 pm, Dr. Suvarnalata in the footsteps of his forefathers, has accompanied and collaborated Rao will present a pre-event talk on Khan trains several students in tabla. with numerous great artistes, and pecic intrent preente on Ronu Majumdar was mentored today, has an international career, also the respective days. by eminent musicians such as representing the musical heritage of , Laxmanprasad Rajasthan. 3rd April Jaipurwale and Shankar. His Born in the illustrious family of Akram Khan (tabla) technique and idiom of bansuri is dhrupad musicians, Mohi Baha’ud- Ronu Majumdar (bansuri) deeply rooted in the Maihar gharana din Dagar was trained by maestros (Approx. 120 mins) tradition. Majumdar has collaborated like his father Zia Mohiuddin and with several great artistes, and today, uncle, Zia Fariddudin Dagar. Today, Akram Khan had the privilege of has an international career in classical he has an international career as one music, Bollywood and Hollywood. of the very few exponents of the Akram Khan, 3rd, Notable among the numerous rudraveena. He continues with his Godrej Dance Theatre awards and accolades is the Grammy family tradition by imparting training nomination for the album Tabula Rasa in vocal and instrumental forms of with Bela Fleck and others. dhrupad. He is a recipient of several awards including the 4th April Akademi Award and the Baiju Bawra Dilshad Khan (sarangi) Samman. Mohi Baha’ud-din Dagar (rudraveena) Daily Tickets: (Approx.120 mins) `135/- (Members) `150/- (Public) Dilshad Khan has trained under We request patrons to check our the guidance of his uncle, the website and emails for information legendary maestro on reopening of the Box Office

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PG FInal.indd 50 18/03/20 12:43 PM Umakant Gundecha, Bawas Got Talent, 4th, West Room 1 4th, Tata Theatre

INDIAN MUSIC An NCPA & Adi Marzban Endowment appraisals, politics and relationships, all Fund Presentation the while dealing with their stress, fears Training Sessions in and insecurities. The play is a comedy Dhrupad They came, they conquered. They about the rat race, how we cope with Conducted by Umakant Gundecha performed, they peaked. Power- it, and what we put our throat and Supported by his Disciples packed elimination rounds have seen lungs through in the process. West Room 1 the participants for the Bawas Got Saturday, 4th – 11.00 am to 1.00 pm Talent event, which celebrates the Written by Adhir Bhaat & 2.00 pm to 4.00 pm performing arts, jostle for the honour Directed by Akarsh Khurana of their acts chosen among 24 of the Cast: Kumud Mishra, Shubhrajyoti In collaboration with Dhrupad best and brightest. Ranging in age from Barat, Siddharth Kumar, Ghanshyam Sansthan Bhopal Nyas ve to 86, no less than 150 Parsis have Lalsa, Sarthak Kakar / Saurabh signed up for the contest countrywide. Nayyar, Abhishek Saha / Taaruk Dhrupad is the oldest surviving Not just from Mumbai, but also from Raina & Lisha Bajaj genre of Hindustani music. The Dahanu, Nasik, , and tradition is reputed for following Surat. For a community with slender D For Production special training methods to groom numbers, its culture quotient ranks facets like voice, breath control, high and proud. Dare it be said, the likes Age: 18+ pitch control and systematic of Zubin, Freddie, Shiamak and Boman delineation of composition. We o er need note: there is plenty of fresh Tickets: a special opportunity to train with the talent in music, singing, dancing and `450/- (Members) internationally renowned exponents acting simply waiting in the wings to `500/- (Public) of this art form, Umakant Gundecha, be discovered. And now, after selection We request patrons to check our and his senior disciples. The following and mentoring, they are ready to set website and emails for information topics will be covered in the sessions: the stage spectacularly on re. Book on reopening of the Box Office 1. Science of svara and raga soon to avoid disappointment. It’s 2. Voice culture training for raga music going to be a gala evening. INTERNATIONAL MUSIC 3. Music and Yoga - Nadayoga in Dhrupad 4. Study of laya and tala Tickets: Jazz Goes Retro!, 5th, Tata Theatre The sessions will be conducted every `570, 375 & 225/- (Members) month to maintain continuity. `760, 500 & 300/- (Public) (Inclusive of GST) Enrolment Fee: `1,000/- (plus GST) We request patrons to check our for one session of two hours website and emails for information A limited number of registrations on reopening of the Box Office will be accepted. For enquiries regarding batches, THEATRE timing and registration: contact 66223831 or write to us at Smoking (Dhumrapaan) [email protected] /English Play (80 mins) Jazz Goes Retro! Experimental Theatre Tata Theatre THEATRE Sunday, 5th – 5.00 pm & 7.00 pm Sunday, 5th – 7.30 pm

Bawas Got Talent Set in the smoking area of a corporate An NCPA Presentation Tata Theatre building over the period of a week, a Saturday, 4th – 7.00 pm bunch of oce employees discuss The Greatest Hit Songs Ever - Jazzied!

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PG FInal.indd 51 18/03/20 12:44 PM Rajeev Raja ( ute) Written by Akshat Nigam & Gerish by a private investigator armed with Rahul Wadhwani (piano) Khemani some compromising information. And Manfred Weinberger (trumpet) Directed by Gerish Khemani this is only the beginning of his troubles. Sanjay Divecha (guitar) Cast: Ankur Sharma, Barkha Fatnani, What was meant to be the happiest Jarryd Rodrigues (alto sax) Fatema Arif, Jaymin Thakkar, phase of his life descends into a hilarious Rhys Sebastian (tenor sax) Pritha Pande, Gerish Khemani & nightmare of dishonesty and double- Saurabh Suman (bass) Shivam Khanna crossing, and a trial by re of Samson’s Aron Nyiro (drums) Live Music: Anadi Nagar, Aryan integrity. Whoever said blood is thicker And many other stellar musicians Easwaran & Akshay Singh than water hasn’t met this family yet.

The timeless songs of Michael Jackson, The Blind & The Elephant Production Adapted by Akarsh Khurana Madonna, Elton John, Sting, The Rolling Directed by Adhaar Khurana Stones, Led Zeppelin, The Doors, Eric Tickets: Cast: Abhishek Saha, Aisha Ahmed, Clapton and many more, performed by `360/- (Members) Kalliroi Tziafeta, Kashin Shetty, a jazz big band including piano, guitar, `400/- (Public) Keith Sequiera, Lisha Bajaj, Lucky bass, drums and a full-blown horn We request patrons to check our Vakharia, Taaruk Raina, Tahira Nath, section joined by Austrian trumpeter, website and emails for information Siddharth Kumar, Vandana Joshi, Manfred Weinberger. on reopening of the Box Office Vikash Khurana & Zayn Marie Khan Production Manager: Tickets: THEATRE Saatvika Kantamneni `1,000, 800, 500 & 300/- (Plus GST) A Small Family Business Age: 16+ We request patrons to check our By Alan Ayckbourn website and emails for information English Play (130 mins) Tickets: on reopening of the Box Office Experimental Theatre `765 & 450/- (Members) Thursday, 9th to Saturday, 11th – `850 & 500/- (Public) THEATRE 7.00 pm & (Inclusive of GST) Sunday, 12th – 3.30 pm & 7.00 pm We request patrons to check our In Search of Dariya Sagar website and emails for information English Play (110 mins) An NCPA Production in association on reopening of the Box Office Godrej Dance Theatre with Akvarious Productions Sunday, 5th – 7.30 pm INDIAN MUSIC First presented at the National Theatre, Winner of the 2017 Hindu Playwright on the 5th June 1987 Prem Rang Award, In Search of Dariya Sagar is a (Approx. 100 mins) meditation on loss, memory, exile and Samson Sequeira is a mist, a man of Tata Theatre the elusive idea of home. Jatin is a tour principle in a corrupt world. A mild- Saturday, 11th – 6.30 pm guide at the Gateway of India. He is also mannered Goan Christian married into a Sindhi: something he has not come a boisterous Punjabi business family in In collaboration with Jasubhai to terms with all his life until the day Delhi. After two daughters and many Foundation and Kilachand a strange vision, almost an epiphany years of loyalty to his wife, Samson’s Foundation of sorts, descends on him at the very father-in-law decides to entrust the family shores of the Gateway of India. Tina business to him. Moments after he takes Saumil, Shyamal and Aarti Munshi, teaches Language and Literature in on the mantle, Samson is approached three renowned singers from an international school. She mourns the loss of her language and identity and her access to the lost world. Jatin and Tina have known each other since childhood. However, their journeys are in the opposite direction, one wanting to retrieve her heritage and language, while the other wanting to disavow it. When a certain mystery behind Jatin’s grandmother’s property brings them together, a fresh voyage begins where family secrets, memories and unlikely stories are discovered, giving perspective on the fractured present and rottenness which Jatin feels lies at the heart of the ‘deterritorialised’ A Small Family Business, community. 9th to 12th, Experimental Theatre

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PG FInal.indd 52 18/03/20 12:44 PM Harpreet Singh, 17th, Little Theatre

Prem Rang, 11th, Tata Theatre Under the Peepal Tree, 12th, Open Air Plaza Ahmedabad, and their troupe, present timeless poetry and songs on the theme of love, as re ected in dierent THEATRE human relationships. Drawn from a vast repertoire of ’s cultural Under the Peepal Tree heritage of poetry and literature, the Dad-Child Festival An NCPA Presentation literary gems have continued to enthral Open Air Plaza Supported by International listeners over the last 500 years. Tushar Sunday, 12th - 4.00 pm to 7.00 pm Foundation for Fine Arts Shukla strings the songs together with his erudite commentary. An NCPA & Grooming Babies Pvt. Harpreet Singh is a student of vocal Ltd. Presentation music being trained by the sitar Tickets: maestro since 2010. `375, 270 & 180/- (Members) For daddies to creatively engage with He also receives training from Purvi `500, 360 & 240/- (Public) their children, the seventh edition of Parikh, a senior vocalist of Kirana We request patrons to check our this one-of-a-kind festival will bring gharana. Endowed with a melli uous website and emails for information alive the vibrant art, culture, literature voice, he has a air for singing Punjabi on reopening of the Box Office and folk traditions of incredible Gujarat. and related folk songs along with Focusing particularly on the child as an Hindustani classical music. Maruti THEATRE artist, the festival will bring together a Patil has trained with Arvind Parikh for wide range of arts through the medium over four decades. As an accomplished Perfect Family... of workshops and performances while player, he has several recitals to his A sorted tale of unsorted placing emphasis on bonding and dad- credit at home and overseas. Presently, people in a family child participation. A variety of activities besides performing, he is also engaged Hindi Play (110 mins) await children, including storytelling, in propagating the Imdadkhani Etawah Godrej Dance Theatre puppetry, folk performances, style of sitar by grooming a number of Saturday, 11th – 7.00 pm & childhood games and workshops on young students. Sunday, 12th – 5.00 pm & 7.30 pm dance, art and handicraft. iion on rtcoert He believed he had the perfect family, Age Group: 2 to 13 years served basis. NCPA Members will indeed he did. Or didn’t he? A*** believed Registration: `300/- per child & get preferential seating till 6.20 pm. in perfection as was handed down to `300/- per parent him by his father and grandfather. When WESTERN CLASSICAL MUSIC he tried to hand it down to his children, [Children workshops on Gujarat’s art and they taught him dierent variations of handicraft are separately charged and perfection. A sorted tale of unsorted you may register for the same at the venue people in a family. Sounds familiar? as per your child’s interest. Registration fee Are we all a part of this family? A family for each workshop will be in the range of entertainer which connects to your life `75/- to `300/-]. in more than one way.

Limited number of seats SOI Academy Orchestra, Written & Directed by Om Katare Tickets available on 18th, Tata Theatre Cast: Om Katare, Keya Gupta, www.bookmyshow.com Vanadana Dogra, Sahil Ravi, Harshal For details, contact: Singh & Naman Mukherjee Ayesha Kelshikar on 8369878014 SOI Academy Orchestra Marat Bisengaliev, conductor A Yatri Production INDIAN MUSIC (Approx. 120 mins) Tata Theatre Tickets: Hindustani Music Recital Saturday, 18th – 6.00 pm `450/- (Members) Harpreet Singh (vocal) `500/- (Public) Maruti Patil (sitar) An NCPA Presentation We request patrons to check our (Approx. 120 mins) website and emails for information Little Theatre The SOI Academy Orchestra, on reopening of the Box Office Friday, 17th – 6.30 pm comprising students of the SOI Music

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PG FInal.indd 53 18/03/20 12:45 PM Academy, presents their annual An NCPA – The Metropolitan Opera The story of Christ’s death and concert led by music director Marat (New York) Presentation resurrection has dominated Western Bisengaliev. Students of the Academy culture for the past 2,000 years. It is will also be featured as soloists in the When Wagner nally arrived in Paris, perhaps the most signi cant historical programme. he began writing his new opera, event of all time as recounted by the Der Fliegende Holländer (The Flying gospels, but also as depicted by the We request patrons to check our Dutchman) and completed it in 1843. greatest artists in history. From the website and emails for information This one-act opera (though sometimes triumphant to the savage, the ethereal on reopening of the Box Office split into three), tells the story of the to the tactile, some of Western Flying Dutchman who is doomed to civilisation’s greatest artworks focus on THEATRE an eternity of wandering the seas. this pivotal moment. This beautifully He is only allowed to leave the ship crafted lm explores the Easter story Hai Mera Dil once every seven years to search for as depicted in art, from the time of Hindi Play (130 mins) a woman whose perfect love will the early Christians to the present day. Godrej Dance Theatre redeem him. It takes place o the coast Shot on location in Jerusalem, the Saturday, 18th – 7.30 pm of Norway during the 18th century. United States and throughout Europe, the lm explores the dierent ways An Ank Presentation Conductor: Valery Gergiev artists have depicted the Easter story Production: François Girard through the ages. Ranbir Singh’s Hai Mera Dil, the longest- Cast: Anja Kampe, Mihoko Fujimura, running play in the history of Hindi Sergey Skorokhodov, David Portillo, Directed by Phil Grabsky theatre, having completed 1,155 shows, Sir Bryn Terfel & Franz-Josef Selig is a hilarious look into the life of a well- Tickets: `400/- meaning hypochondriac who turns Tickets: `500/- We request patrons to check our his life upside down with his irrational `250/- (only for students on website and emails for information fears. Confusion, delusion, illusion…it is production of valid ID cards) on reopening of the Box Office the ECG of a comic fusion. We request patrons to check our website and emails for information INTERNATIONAL MUSIC Directed by on reopening of the Box Office Cast: Preeta Mathur Thakur, Aman Gupta, Atul Mathur, Shankar , SCREENING S. C. Makhija, Sumit Bhardwaj, Shilpa Chakraborty, Rajat Yadav & Easter in Art. 22nd, Shubanshit Godrej Dance Theatre Dan Costa, 23rd, Tickets: Experimental Theatre `450/- (Members) `500/- (Public) Brazilian Jazz with Dan We request patrons to check our Costa website and emails for information (Approx. 120 mins) on reopening of the Box Office Experimental Theatre Thursday, 23rd – 7.00 pm SCREENING An NCPA Presentation

Dan Costa, piano D. Wood, bass Aron Nyiro, drums Featuring Special Guests

Der Fliegende Holländer, Following his critically-acclaimed 21st, Godrej Dance debut album Suite Três Rios, considered Theatre one of the best albums of the year by DownBeat magazine proclaiming Der Fliegende Holländer Easter in Art that “Costa’s melodic sensibility shines (The Flying Dutchman) Exhibition Screening throughout”, Dan Costa recorded by Richard Wagner (Approx. 85 mins) Skyness – an invitation to outer Opera Screening (139 mins) Godrej Dance Theatre harmony and inner peace featuring Sung in German with English Wednesday, 22nd – 6.30 pm Roberto Menescal, Jorge Helder, Teco Subtitles Cardoso, Custodio Castelo, Romero Godrej Dance Theatre An NCPA- Seventh Art Productions Lubambo, Nelson Faria and Seamus Tuesday, 21st – 6.00 pm (UK) Presentation Blake – at Artesuono studio in Italy. It

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PG FInal.indd 54 18/03/20 12:45 PM was released at Blue Note Rio as part to another level, to a President like distinguished dancer-scholars of India. of an international tour that took him none other – is brought to life through The has honoured to , India and southern Europe. an enactment of the autobiography her as "A pioneering dance educationist His album peaked at #1 on the iTunes Wings of Fire, narrated in the melliuous and topmost Mohiniattam exponent." Jazz Chart and top 10 across all genres voice of the eminent poet and writer For the past 35 years, she has in . It was considered “rare Gulzar. Over 60 students of The ceaselessly strived to rejuvenate the and luxurious” by All About Jazz, while Sanskaar Valley School, through lyrical Mohiniattam of . Today her name the track ‘Compelling’ was featured by dance movements and theatrical is synonymous with the dance form. JAZZIZ Magazine in their 2019 summer representation, enact the various Her Ph.D. at the Faculty of Fine album. He has attended workshops events that inuenced Kalam and led Arts, University of Mumbai, was on with musical artistes such as Gary him to achieve all that he did in life. His Mohiniattam. Initially trained from a Burton, Kevin Hays, Scott Colley, Kurt inspirational triad, aspiration (khwahish), very young age in , under Rosenwinkel, Jorge Rossy and Chick hope (umeed) and con dence (yakeen), the late 'Panchali' Karunakara Panikkar, Corea, amongst others. is sure to stay with the young actors in who is regarded as one of the greats the play as well as the audience, young for stree-vesham in Kathakali, Rele has Tickets: `500/- and old, long after the curtain call. won high acclaim for her rendition We request patrons to check our of Kathakali as well. She is a regular website and emails for information Free admission passes available at performer at major festivals in India and on reopening of the Box Office the Box Office e reet ptron abroad. She is often selected to present to check our website and emails for and demonstrate papers at ocial INDIAN MUSIC information on reopening of the Box high-level seminars and conferences. Office For some years now, her troupe of Parvaaz ka Agaaz, students from Nalanda is also sent on 24th, Tata Theatre DANCE ocial tours to much critical acclaim.

NCPA Mudra Dance Tickets: Festival, 2020 `270/- (Members) 25th & 26th April `300/- (Public)

For this edition, we pay tribute to iconic by dance choreographies and musical Amrita Lahiri compositions made exclusively for Presenting Choreographies of Parvaaz ka Agaaz: Wings dance performance. of Fire by A Musical-drama on the Life of Nayika-Bheda: A Rajashri Praharaj Dr. A.P.J. Abdul Kalam Lecture Demonstration Presenting Choreographies of Script and Narration: Gulzar in Mohiniattam by Dr. (approx. 70 mins) Odissi duet by Tata Theatre (Approx. 75 mins) Subikash Mukherjee & Friday, 24th – 7.00 pm Godrej Dance Theatre Shayomita Dasgupta Saturday, 25th – 4.00 pm Presenting Churamani Pradaan In association with Sanskaar Valley (Approx. 120 mins) School, Bhopal Kanak Rele is one of the most Experimental Theatre Saturday, 25th – 6.00 pm Original soundtrack: Parvaaz, Kanak Rele, 25th April, Godrej courtesy: Karadi Tales Company Dance Theatre Amrita Lahiri is widely recognised as Music and Sound: one of the foremost young performers 3 Brothers & A Violin of Kuchipudi today. Critics describe her as ‘gifted with a radiant stage presence’, A brilliant scientist, an exemplary and her dance performances and President, an academician, a writer, choreographies have been acclaimed a philosopher and a visionary who for their elegance and dynamism, believed that we are all born with a divine re within us, Dr. Kalam was a role model and an inspiration to millions of Indians, especially for the younger generation. His extraordinary journey through various stages – from the young carefree Kalam in Rameswaram Amrita Lahiri, to an engineering student following 25th, his passion, to the aerospace scientist Experimental who took India’s Space Programme Theatre

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PG FInal.indd 55 18/03/20 12:46 PM Rukmini Devi combined with a re ned approach. been acknowledged with a National Arundale, 26th, She has toured as a soloist in India, scholarship by the Ministry of Culture Godrej Dance the U.S.A., Switzerland, South Korea, (2004), Sringaramani by Sur Singar Theatre Africa and Southeast Asia. Lahiri began Samsad in Mumbai (2004), Pt. dancing at age seven in Washington, Samman by Vedic Heritage in New D.C., studying under Anuradha Nehru York (2007), Nalanda Nrutya Nipuna by until she shifted to New Delhi at Nalanda University in Mumbai (2008) age 15. In Delhi, she started learning and the Ustad Yuva under , Puraskar by and also studied under Swapnasundari in Delhi (2015), among other honours. and Seetha Nagajothy. In , she Praharaj is also actively involved in studied under Jaikishore Mosalikanti. teaching Odissi. At present, she is a Her dance reects the inuences of all member of the senior faculty of Odissi of these outstanding gurus, and the dance at SRJAN. experience of many performances. Subikash Mukherjee, an established She has worked for leading arts Odissi dancer is a student of Ratikant Kathak by Rajendra organisations such as the British Council Mohapatra. He was also trained Gangani in New Delhi, John F. Kennedy Center by awardee, Kumkum (Approx. 60 mins) for the Performing Arts in Washington, Mohanty and the legendary Experimental Theatre D.C., Seher in New Delhi, Museum Kelucharan Mohapatra. Shayomita Sunday, 26th – 4.30 pm Rietberg in Zurich and Kalakshetra in Dasgupta delved into the classical Chennai. Most recently, she was the dance arena at four, when she nurtured Rajendra Gangani, disciple and son head of the dance department of the the nuances of Kathak and Manipuri. of Kundanlal Gangani, started training National Centre for the Performing She recalls her acquaintance with in the art of Kathak at the early age of Arts, Mumbai (NCPA) until 2013, where Kelucharan Mohapatra in 1995 as the four. The renowned Jaipur gharana she curated and managed over 200 turning point in her life and career. saw the emergence of an outstanding dance performances, workshops and With Mohapatra, she performed major performer and crusader of the art in masterclasses. roles in dance sequences to much the talented scion of a family of Kathak Rajashri Praharaj is an accomplished acclaim. Her acquaintance with SRJAN dancers. He graduated from the Kathak artiste of the Kelucharan Mohapatra brought her in close association with Kendra, Delhi in the year 1983-84, gharana of Odissi, having studied and made her and ever since has made signi cant with him in 2002-2003. Her formal familiar with the Kelucharan Mohapatra contributions to this eld. Among the training in SRJAN (Odissi Nrityabasa) gharana. She has performed on various numerous awards and accolades he has as a resident student under the able TV channels with distinction, notable won are the Sangeet Raj, Shastriya Natya tutelage of Ratikant Mohapatra helped among them being Doordarshan and Shiromani, and the prestigious Sangeet her master the art and technique of Tara Music. Natak Akademi Award which was Odissi. Praharaj tours extensively as a bestowed upon him in 2003 by the then soloist and as a lead repertory member Tickets: President of India, A.P.J. Abdul Kalam. He of the SRJAN ensemble, performing `450 & 360/-(Members) is one among the few Indians who have at various prestigious festivals within `500 & 400/- (Public) performed solo in Queen Elizabeth Hall, India and abroad. Her dedication has London, the Festival of India in U.S.S.R., apart from performances in America, Rajashri Praharaj, – ‘Innovator and Italy, Germany, France, China, Japan 25th, Experimental Theatre Conservator’ and Afghanistan. Even at home, he has Lecture Demonstration and Archival Film by Rajendra Gangani, 26th, Experimental (60 mins) Theatre Godrej Dance Theatre Sunday, 26th - 3.00 pm

In a conversation format between Revathi Ramachandran, Director, Kalakshetra Foundation and Nandini Nagaraj, Senior Faculty, Dance Department, Kalakshetra Foundation. A powerpoint presentation with archival photographs and video clippings will also be presented.

iion on rtcoert served basis. NCPA Members will get preferential seating till 2.50 pm.

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PG FInal.indd 56 18/03/20 12:46 PM been a part of signi cant shows like SCREENING Piramal Art Gallery the Chidambaram Natyanjali Festival, Thursday, 30th April to Wednesday, the Konark Festival, the Ghungroo Swan Lake, 28th, 6th May - 12.00 pm to 8.00 pm Festival at Bhopal, Kathak Mahotsava, Godrej Dance Theatre Sharadchandrika at Delhi, Haridas has a rich cultural and Sangeet Sammellan at Vrindavan, and natural heritage sustained over Nritya Ojhas in Pune. centuries by people with unique and diverse backgrounds. To celebrate Tickets: this enchanting culture from the land `450 & 360/-(Members) of the Sahyadris, Konkan and Deccan `500 & 400/- (Public) Plateau, 10 photographers will exhibit Swan Lake some of their works. ‘’ by by Pytor Ilyich Tchaikovsky The Maharashtra Photography Kalakshetra Foundation Ballet Screening (70 mins) Exhibition 2020 is curated by An Iconic Production Godrej Dance Theatre Gajanan Dudhalkar and features Choreographed by Rukmini Devi Tuesday, 28th – 6.30 pm images contributed by the following Arundale photographers: Rajendra Waghmare, (Approx. 120 mins) An NCPA-Pathé Live (Paris) Gajanan Dudhalkar, Prakash Tata Theatre Presentation Dudhalkar, Vaibhav Jaguste, Sunday, 26th – 6.00 pm Subhash Jirange, Gopal Bodhe, Swan Lake is a timeless love story that Mukesh Parpiani, Kishore Nikam, Kalakshetra Foundation, formerly mixes magic, tragedy and romance in Sudhir Nazare and Kedar Bhide. simply Kalakshetra, is an arts and four acts. It features Prince Siegfried cultural academy dedicated to the and a lovely swan princess named The exhibition will open at preservation of traditions in Indian art Odette. Under the spell of a sorcerer, 5.00 pm on 30th April. The gallery will and crafts, especially in the eld of Odette spends her days as a swan remain closed on 1st May. Bharatanatyam and Gandharvaveda swimming on a lake of tears and her music. Based in Chennai, India, the nights in her beautiful human form. INTERNATIONAL MUSIC academy was founded in 1936 by The couple quickly falls in love. As in Rukmini Devi Arundale and her husband most fairy tales, things are not that Louiz Banks, 30th, . Under Arundale’s easy and the sorcerer has more tricks Tata Theatre guidance, the institution achieved to play. That brings Odile, his daughter, global recognition for its unique style into the picture. Confusion, forgiveness, and perfectionism. Having studied the and a happy ending with Siegfried and Pandanallur style for three years, in 1936 Odette together forever o the Rukmini Devi Arundale started working ballet. on developing her own Kalakshetra International Jazz Day style of Bharatanatyam. She introduced Music: Pyotr Ilyich Tchaikovsky (Approx. 180 mins) group performances and staged various Choreography: Yuri Grigorovich Tata Theatre Bharatanatyam-based ballets, and Cast: The Bolshoi Principals, Soloists Thursday, 30th – 7.00 pm Ramayana is one of the most iconic & Corps de Ballet presentations that was created by her. An NCPA Presentation Tickets: `500/- Tickets: `250/- (only for students on International Jazz Day has been `450, 300 & 225/- (Members) production of valid ID cards) celebrated in Mumbai for the last eight `600, 400 & 300/- (Public) We request patrons to check our years. This year, its ninth edition will be (Inclusive of GST) website and emails for information curated by the NCPA and Louiz Banks. We request patrons to check our on reopening of the Box Office The event will feature an array of artistes website and emails for information performing for three hours. From jazz on reopening of the Box Office PHOTOGRAPHY standards to jazz fusion, the concert will feature some of the nest musicians Maharashtra and singers in the country. The NCPA, Photography Exhibition along with Louiz Banks, celebrates 2020 this iconic day live at the Tata Theatre in Mumbai. Maharashtra Photography Exhibition 2020, 30th Tickets: April to 6th May, `1,000, 800, 500 & 300/- Piramal Art Gallery (Plus GST) We request patrons to check our website and emails for information 'Ramayana' by Kalakshetra Foundation, 26th, Tata Theatre on reopening of the Box Office

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PG FInal.indd 57 18/03/20 12:47 PM What’s Next MAY & JUNE 2020 (Please note that due to the spread of Coronavirus, all programmes are subject to change. Please check our website and emails for updated information. )

WESTERN CLASSICAL MUSIC Tosca, 2nd May, Godrej Dance Theatre India World Choral Festival (IWCF)

An NCPA Presentation

IWCF Choirs SOI Chamber Orchestra Mariano Chiacchiarini, conductor Jamshed Bhabha Theatre Saturday, 2nd May - 7.00 pm

Programme including Palmeri: Misatango

On 2nd May, the joint choirs of the India World Choral Festival and the SOI Chamber Orchestra will present a concert featuring Argentinian composer Martin Palmeri’s tango-inspired mass, Misatango. Palmeri will also serve as the composer-in- residence for the festival and be featured as the pianist in this performance of his (her lover) and Scarpia (the corrupt Chief of An NCPA Presentation iconic work. Police). Its plot depicts the tempestuous opera singer Tosca, as she ghts to save Cavaradossi Sutapa Talukdar, a close disciple of Tickets: from the sadistic Scarpia. Kelucharan Mohapatra, has taken the Odissi `2,000, 1,500, 1,000 & 500/- (Plus GST) dance style to a level of national interest. We request patrons to check our website Conductor: Bertrand de Billy Over the years, she has passionately strived and emails for information on reopening Production: Sir David McVicar to make this genre a more acceptable of the Box O ce Cast: Anna Netrebko, Brian Jagde, form of art. Towards this goal, she set up a Michael Volle & Patrick Carzzi dance school, Gurukul, through which she SCREENING unravels treasures of , Tickets: `500/- as a performer, a teacher and sometimes, a Tosca `250/- (only for students on production choreographer. Rajib Bhattacharya has by Giacomo Puccini of valid ID cards) received his initial training from Sharmila Opera Screening (177 mins) We request patrons to check our website Biswas. He completed an M.A. in Odissi Sung in Italian with English Subtitles and emails for information on reopening from Rabindra Bharati University in . Godrej Dance Theatre of the Box O ce At SRJAN, he had the good fortune to Saturday, 2nd May – 5.00 pm receive training under the able guidance DANCE of Mohapatra. A recipient of a national An NCPA – The Metropolitan Opera (New scholarship from the Dept. of Culture, York) Presentation An Evening of Odissi Dance Ministry of Human Resource Development, by Sutapa Talukdar, Rajib Bhattacharya Govt. of India, Bhattacharya has performed Tosca is a political thriller set in Rome in June & Nandini Ghosal in major dance and music festivals of India 1800 and is a classic story of love, jealousy, lies, (Approx. 120 mins) and abroad. He is an ‘A’ grade artiste of betrayal and death. The story revolves around Experimental Theatre Doordarshan. He is the director of Srijan three main characters – Tosca, Cavaradossi Friday, 8th May – 6.30 pm Chhanda and an examiner at Rabindra

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Highlights.indd 58 18/03/20 12:22 PM Bharati University and Nikhil Bharat Sangit SCREENING Cast: The Bolshoi Principals, Soloists & Samity. Nandini Ghosal is a dancer who Corps de Ballet posesses a remarkably original style of Giselle representation. Ghosal has undergone by Adolphe Adam Tickets: `500/- extensive training in Kathak before Ballet Screening (130 mins) `250/- (only for students on production surrendering herself to the overpowering Godrej Dance Theatre of valid ID cards) beauty of Odissi. After training in Odissi Thursday, 21st May – 6.30 pm We request patrons to check our website under Poushali Mukherjee, she came under and emails for information on reopening the tutelage of Mohapatra, under whom An NCPA-Pathé Live (Paris) Presentation of the Box O ce she studied for 16 years. She has played the central roles in several dance- Giselle is the classic ballet of the Romantic era. DANCE choreographed by the legendary guru. It transformed the dance world when it was She has been a member of the World Arts rst performed in Paris in 1841 and remains Council, a UNESCO-sponsored organisation at the centre of the classical repertory. Giselle’s of the Valencian Government, Spain. She is essence has remained the same through an ‘A’ grade dancer for Doordarshan and is many dierent productions. The role of Giselle empanelled with the ICCR (Indian Council for provides the dancer with many technical and Cultural Relations). dramatic challenges, from the character’s early love to her poignant descent into madness Tickets: and, eventually, her nal gesture of forgiveness `270 & 180/-(Members) from beyond the grave. Giselle is the perfect `300 & 200/- (Public) way to discover classical ballet. We request patrons to check our website and emails for information on reopening Music: Adolphe Adam of the Box O ce Choreography: Alexei Ratmansky

Rabindra Nritya Workshop, 28th & 29th May, Experimental Theatre Workshop on Processional Dance in Rabindra Nritya by Dr. Sruti Bandopadhay Experimental Theatre Thursday, 28th May – 4.00 pm to 8.00 pm & Friday, 29th May – 2.00 pm to 4.00 pm

An NCPA Presentation

In Santiniketan, to usher in the spring season, students of Visva-Bharati, the university set up by Rabindranath Tagore, will perform a special processional dance on songs inviting spring. To mark the month of Tagore’s birth, we celebrate him with a workshop by senior researcher and professor Dr. Sruti Bandopadhay and students of Visva- Bharati. The workshop includes training in Rabindra Nritya, jewellery-making and saree- draping (Rabindrik style). Selected students will get a chance to perform on 29th May in the Tagore event.

Registration Fees: `1,000/- (inclusive of GST)

Giselle, 21st May, For Registration, call: Godrej Dance Theatre 66223805/8879114939 or email: [email protected]

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Highlights.indd 59 18/03/20 12:23 PM SCREENING of the Box Oce SCREENING

Maria Stuarda DANCE Jewels by Gaetano Donizetti by Gabriel Fauré, Igor Stravinsky and Opera Screening (166 mins) Chitrangada Pyotr Ilyich Tchaikovsky Sung in Italian with English Subtitles by Dr. Sruti Bandopadhay and Artistes Ballet Screening (124 mins) Godrej Dance Theatre of Tagore’s Santiniketan Godrej Dance Theatre Thursday, 28th May – 6.00 pm (Approx. 90 mins) Friday, 5th June – 6.30 pm Experimental Theatre An NCPA – The Metropolitan Opera Friday, 29th May - 6.30 pm An NCPA-Pathé Live (Paris) (New York) Presentation Presentation An NCPA Presentation Mary, Queen of Scots, has ed from her subjects Jewels is a unique three-act ballet created and has been imprisoned in Fotheringay Castle Chitrangada, a dance-drama, originally for the New York City Ballet by co-founder by her cousin, Elizabeth, Queen of England. The composed by Nobel laureate Rabindranath and founding choreographer George encounter between the two Queens shows a Tagore in 1892, is based on the love life of Balanchine. Each section of the ballet is dramatically eective falsication of history but Manipur’s princess Chitrangada, and Arjuna, distinct in both music and mood. Jewels nonetheless, is quite entertaining. This story the third Pandava from the Mahabharata. consists of three parts – green (emeralds), tells a tale of the time when plotting, suspicion, It documents the emotional journey of red (rubies) and white (diamonds), which fury, rage, entrapment, execution, and protest Chitrangada as she is awakened by her signify the music by Fauré, Stravinsky and advanced into war and where shots were red passion for Arjuna. Tagore took the basic Tchaikovsky respectively. Emeralds, which by guns and canons. Three shots were red by story from the epic and adapted it in his Balanchine considered to be, “an evocation the canon – the rst one to oer her last wish, drama, expanding the narrative with his of French elegance, comfort, dress and the second for her innocence and in the end, deep sensitivity in the characterisation of perfume,” recalls the 19th century dances of Mary walks upright to the third shot from a Chitrangada, where the feminine subjectivity the French romantics. canon, to her death. comes out through his characteristic lyrical style. Through her transformation from the Music: Gabriel Fauré, Igor Stravinsky & Conductor: Maurizio Benini masculine warrior princess to the diva with Pyotr Ilyich Tchaikovsky Production: Sir David McVicar charming attributes, Tagore carves her as the Choreography: George Balanchine Cast: Diana Damrau, Jamie Barton, timeless, complete woman who personies Cast: The Bolshoi Principals, Soloists & Stephen Costello, Andrzej Filończyk & love, courage and substance. Corps de Ballet Michele Pertusi Tickets: Tickets: `500/- Tickets: `500/- `360 & 270/-(Members) `250/- (only for students on production `250/- (only for students on production `400 & 300/- (Public) of valid ID cards) of valid ID cards) We request patrons to check our website We request patrons to check our web- We request patrons to check our website and emails for information on reopening site and emails for information on re- and emails for information on reopening of the Box Oce opening of the Box Office

Maria Stuarda, 28th May, Godrej Dance Theatre

52 • April 2020 NCPA

Highlights.indd 60 18/03/20 12:23 PM