World Theatre Day: Meet Chennai theatre circuit's backstage heroes

Have you Ever wondered how the iconic balcony scene of Romeo and Juliet is created? Or how a perfect murder scene is staged from an Agatha Christie’s whodunit — the sound of the gunshot, the squirt of blood on the actor’s chest and the spotlight coming right on cue on the figure hiding behind the curtain. Have you ever wondered how these things work so perfectly while you are entertained watching a play? There was somebody behind the light, someone behind the sound effect of the gunshot, someone arranging that perfect curtain that was translucent. Often, the directors and the actors are the ones in the limelight, while the backstage crew supports a successful production albeit from the shadows. The average spectator would be surprised at the many cogs in the wheel that makes up the backstage machinery contributing to a seamless show. Unfortunately, often the only way this team gets attention is when something goes wrong — like when an actor is trying to escape from a window and the window jams or when a phone rings out of cue! On World Theatre Day (March 27) we take the opportunity to celebrate this backstage supporting crew that is the strength behind a perfect show.

For the love of theatre

One of Chennai’s top set and light designers Victor Paulraj is addicted to set designing and has worked on more than 2,000 projects in his four-decade-long career. “I am working with the third generation in theatre and every show comes with different challenges to date, which gives me a kick,” says Victor, who has designed sets for plays like Midnight Hotel, The Mousetrap and Trinity of Madras Players, among others. Similarly, Michael Muthu, fondly known as Mike (founder of Boardwalkers  theatre group), who has designed sets for plays like Amadeus, Romeo Juliet and Twelve Angry Men, tells us that he designs sets so that he can contribute to the storytelling process. “The only reason I design the stage is to tell the story a little better and create the illusion the director wants to create,” says Mike, who has been designing sets for about 30 years.

Art of storytelling

“There is something about creating music for a play that makes my hair stand on end. I empathise with all the characters and I can convey a story through my music,” says Jonathan Titus, who has been designing music for most of the musicals in Chennai. “Once I have the script, I see the tone of the character and the theme and create music accordingly,” he explains. Mike on the other hand, tackles the set from the story’s point of view. “I design three sets depending upon the story and of course, according to the budget,” says Mike. But directors are opting for minimalist sets now. “Going minimalist is not right. Every play requires a set and design to convey the story. People don’t have sets these days, because they don’t have a budget. They are cash strapped,” he rues and Victor agrees too. “A set is essential in any play and people are still not ready to see a minimalist stage. The budget creates an obstacle, so directors are forced to go minimalist,” he opines.

Adapting to change

Stage managers, technicians, costume designers, sound designers, puppeteers and stage ushers are among those who are also part of the team alongside actors, directors and producers. They come in hours before the cast to do the full sound check, stage set up, light setting for the right cue, equipment checks and prop placement. They control literally everything that happens on stage. Charles B, the founder of Chennai Art Theatre has been designing lights for the last 10 years and has worked on over 600 plays as a light designer. He points out that adaptability is important for a light designer. “Every studio has a different setting. If I am in Chennai, I am familiar with most of the settings but when the play travels I have to take the availability of equipment into account. The light design may change when you are travelling, so, I have to be highly prepared,” he says.

A good show

The backstage has its own show with a whole different plot. But seldom has any audience got to see that or appreciate what went behind those black curtains. However, these background faces and voices don’t long for any limelight either. “All the artistes who do the backstage job are not looking for any appreciation. They are passionate about what they do. But prefer to be in shadows,” says set designer L Joseph Bernad, who recently designed the set for Theatre Akku’s play Komaligal. John, too, expresses that getting the job done right is gratifying. “I put my heart into the music I create and a successful production is my reward.” Clearly, theatre production is not a one person job. “As long as the audience enjoys the show, our job is well done,” says Mike in conclusion.

 priyanka.chandani@newindianexpress.com