Aunty Moxie is Delulu makes its Bengaluru debut at Jagriti Theatre. Presented by Okapi, a new arts company founded by Rebecca Spurgeon and Ananth Menon and supported by Adishakti’s Theatriculate Fellowship, this 60-minute English play explores what happens when someone feels wronged and struggles between forgiveness and revenge. Written and performed by Ashiqa Salvan, the story blends everyday frustrations with myth, featuring figures like Ganga and Nemesis. Ashiqa speaks about how daily life inspired the narrative, why mythological characters shape the play and the challenges of performing a script she also wrote
What sparked the idea behind Aunty Moxie is Delulu ?
It came from everyday conversations with friends, family and even strangers. More and more, I have realised that almost everyone feels they have been wronged, whether by people, systems or situations. Some people think about revenge, others about forgiveness, but either way, they remain preoccupied with what has happened to them. This play is not here to fix anything. It simply acknowledges that this feeling exists for everyone, regardless of who they are or where they come from.
What does ‘delulu’ mean in the context of the play?
The title is like a comment someone might make when watching a person go through something they do not understand. Aunty Moxie may seem delusional to the outside world, but what she is experiencing is real. Her problems may seem small to others, but they come from repeated situations that have built up over time. The play asks the audience to slow down and try to understand rather than judge.
The play touches on revenge and forgiveness. How did you approach writing about such emotionally strong feelings?
I brought in two mythological figures. Ganga, who is seen as the goddess of forgiveness in Indian mythology; and Nemesis, the Greek goddess often associated with justice or revenge. Both women were given roles they did not choose. Ganga was told by Shiva to come to Earth and forgive endlessly, while Nemesis punishes wrongdoers, even though she herself was wronged by Zeus and never found justice. These characters helped me explore how limited our agency can be, even when we are powerful.
Tell us about Aunty Moxie. Who is she?
She is an elderly woman living alone in a small apartment. Landowners want her out so they can build over the property. Her neighbours think she is overreacting, but no one truly sees what she is going through. She is constantly being dismissed and over time, that takes a toll. Her frustrations might seem silly to others, but to her, they are very real.
You are both the writer and performer. How do you manage that balance?
It is not easy. I keep wanting to rewrite the script even as we rehearse. My team keeps reminding me to stop editing and focus on performing. It helps that I understand the emotions behind each scene, but I am learning to leave the script alone and work with what is already there. It is a challenge, but also quite exciting.
The play moves between mythology and realism. Was that difficult to manage?
Not really. I have always worked with mythological references in my theatre practice. I find it natural to link older stories with contemporary questions. Mythology holds wisdom and memories that are still relevant. Rather than seeing it as something ancient, I see it as a source that can be adapted and reimagined to fit today’s world.
What kinds of stories would you like to explore after this?
I have been thinking a lot about fairy tales. Over the years, they have been so heavily sanitised that they have lost their original meaning. Stories like Sleeping Beauty, Snow White and Alice in Wonderland still carry so much depth if you scratch beneath the surface. I am curious about how we can reconnect with those layers and maybe blend them with Indian narratives too.
INR 300. September 5, 7.30 pm. At Jagriti Theatre, Whitefield.
Email: alwin@newindianexpress.com
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