The Qadir Ali Baig Theatre Festival, a prominent fixture among the nation’s cultural highlights, is distinguished by its historic locale and innovative subject matter. Last year, the festival made an unforgettable debut with legendary sarod player, Ustad Amjad Ali Khan, gracing the mesmerising Taramati Baradari Auditorium. Following the enchanting musical performance, it screened Garm Hava, MS Sathyu’s timeless film, starring Balraj Sahni and Farooq Shaikh. The cinematic sojourn took place amidst the revamped splendour of the Prince Moazzam Jahi Market Courtyard for a fusion of history and visual magic. This year, in its 18th edition, one of the festival’s most remarkable features is its unwavering focus on regional theatre.
It promises to be a bouquet of literary-centered plays, celebrating the power of storytelling and the written word. In addition to Mita Vasisht’s outstanding debut performance, Love Real/Reel, it also commends the legendary Urdu writer Ismat Chughtai, vividly bringing her poignant tales to life. While another play, Words Have Been Uttered, examines the theme of dissent through powerful excerpts from the eminent Sunil Shanbag’s writings, an adaptation of a classic Bengali comedy adds a touch of humour and nostalgia to the performance. Curated by theatre revivalist and thespian virtuoso, Padmashri Mohammad Ali Baig, the 18th edition of the Qadir Ali Baig Theatre Festival is poised to resonate with the discerning patrons of art. The line-up includes theatre ensembles Padatik from Kolkata, Tamaasha Theatre, Afsana Theatre, Indian People’s Theatre Association (IPTA), and the evocative Puppet Theatre from the heartland of Andhra Pradesh. Mohammad Ali Baig tells us, “Qadir Ali Baig Theatre Festival started out as a son’s tribute to his father — an artiste’s tribute to a theatre doyen. The festival was purely a step in the direction of reviving theatre in Hyderabad where it had almost become defunct. Qadir Ali Baig had dreamt of Hyderabad being a world-class city, upholding the art form. It is humbling to see how the festival has become synonymous with Hyderabad and the state of Telangana, drawing applications from eminent theatre groups from across the country and far-flung corners of the world as early as June. It’s been two decades of this theatre movement.”
No corner of the country’s artistic landscape is left unexplored as it underscores exceptional integration while simultaneously representing the diversity of aptitude. “What resonates most with me is their inclusive approach, as they extend invitations to artistes from all corners of India — whether it’s the Northeast, Mumbai, Kolkata, or elsewhere. The result is a continuous showcase where each group, one after another, presents narratives that are not just convincing but also deeply compelling,” says Masood Akhtar, director of IPTA, who will present Buddhe Ne Maari Century, a Hindi translation of Sangeet Natak Akademy Award-winning playwright, Manoj Mitra’s Bengali satire, Bancharamer Bagan — which remains as amusing as ever.
Agreeing with Masood, according to Padatik’s programme director and actor, Anubha Fatehpuria, the Qadir Ali Baig Theatre Festival is a prestigious one to perform in, while director of Afsana Theatre Company, Jitender Singh, says, “I found it astonishing to discover that we would have the privilege of sharing the stage with Sunil Shanbagh. As both an admirer of his plays and someone fortunate enough to have collaborated with him previously, it felt like a significant milestone. Just as in past years, the festival’s line-up continues to embody a spirit of inclusivity, seamlessly uniting renowned luminaries in the theatre world with emerging and promising ensembles.” Coming to the roster, Words Have Been Uttered flares under the stewardship of Sunil, an auteur of Tamasha Theatre.
The play features melodic refrains, poetic sonnets, vignettes of dramatic prowess, and the tableau of visual narrations. At its initial gaze, it may appear as a seemingly disjunct mosaic, an assemblage of creative fragments, intricately threading the human experience, from corporeal desire, and sensuality to the profound caverns of democracy and resistance. “It is an exploration of dissent — a big idea; and looks at dissent from several areas — whether it is gender, between the state and the individual, caste, reason and superstition. It goes across time and geography. We are looking at it from many ways and at the end of it, one can expect a sense of the universality of iconoclasm across cultures and times and how it is the key element within human civilisation,” he says. Sunil’s theatrical production is a well-structured argument unfolding on stage.
In the upcoming performance, a small group of about seven to eight talented artistes come together to sing, perform, and incorporate animation and video. Despite the apparent diversity of these creative elements, they are meticulously orchestrated to convey a more profound idea at the end of the show. “This year marks our inaugural participation in the Qadir Ali Theatre Festival. We are privileged to be a part of an event that has garnered such acclaim within our theatre community. These festivals held across India offer us a valuable platform to connect with fresh audiences, and this sense of shared artistic experience holds great importance for us,” he tells us. Renowned for her versatility across the celluloid, thespian artistry, and the televised canvas, Mita, has since the dawn of 2004, graced audiences with her enthralling solo act, Lal Ded. Eloquently performing in English and Hindi, her show — about medieval Kashmiri poet, Lalleshwari, locally known as Lal Ded — unfurled its narrative tendrils across the vast expanse of India’s theatrical landscape. She now pens a poignant reverie, a literary piece woven with ink and emotion, aptly named Love Real/ Reel. Within this lyrical essay lies an inquisitive quest that deftly prods at the heart of that age-old declaration, ‘I love you.’
Urdu novelist and humanist, Ismat Chughtai commands profound reverence among those fortunate enough to have engaged with her literary oeuvre — whether through direct immersion, word-of-mouth accolades, or the resonance of her stories passed down through generations. Kolkata’s theatre collective, Padatik, known for their compelling performances in Hindi, Urdu, and English, will present Kaagaz ke Gubbare. Directed by Anubha, the play enlivens and illustrates Chughtai’s artistic genius. The performance draws its title directly from the pages of Chughtai’s memoir Kaagazi Hai Parirahan, which means, ‘Garments are of paper.’ Anubha’s directorial finesse translates this symbolism. The female characters, enveloped in milk-white, translucent, and impeccably starched saris, wear their plaits for a visual representation that does not impede the actors’ movements but seamlessly integrates into the fabric of the play itself. This sartorial artistry serves as a powerful metaphor, mirroring the delicate yet resilient nature of life.
Delving into the costume design of Kaagaz ke Gubbare, Anubha tells us, “It relates to women’s journey of self-discovery, finding their inner fire, and realising their full potential. The performers don white Kota saris with a texture reminiscent of paper, while the hues of their blouses draw inspiration from the fiery glow of paper lanterns. Paper embodies vulnerability, yet within every woman’s vulnerability lies power.” Spearheaded by Dheer Hira and Jitender, Afsana Theatre will bring Kutta, Aurat, Aadmi — a Hindi translation that attracts impulse from the original German playwright Sibylle Berg’s piece, Dog, Woman, Man. The heart of the narrative beats within the perspective of an observant canine character who serves as the storyteller. The faithful and astute dog provides insight into the peculiar dynamics unfolding between a man and a woman.
Despite their mutual aversion to one another, these two individuals remain bound together by unforeseen circumstances explored throughout the play. Dheer, who assesses the complexities of human relationships, tells us, “In any partnership, external factors often come into play — be it emotional, professional, or personal influences. They shape the course of the relationship, altering the partners’ perceptions and behaviour. The dog character in the story symbolises this often overlooked yet significant presence, highlighting the multifaceted nature of human connections.”
Indeed, the Qadir Ali Baig Theatre Festival has ushered in a remarkable resurgence, redefining its role in contemporary culture. Its mission extends beyond the confines of academia, challenging the outdated notion that theatre is reserved exclusively for scholars. Instead, it invites younger, forward-thinking audiences brimming with innovative ideas, fresh perspectives, and dynamic presentations. “In an era where the vitality of theatre has been questioned by some, the Qadir Ali Baig Theatre Festival stands as a vibrant reminder of its enduring significance. It boldly defies the notion that theatre is a dying art form and, instead, becomes a catalyst for its revival and rejuvenation,” Dheer adds.
`250 upwards. October 5. At Salar Jung Museum. October 6, 7, 8 and 9. At Taramati Baradari. chokita@newindianexpress.com @PaulChokita