In an epic twist to Ram Leela, Ravan takes centrestage in this play-within-a-play presentation to raise pressing questions about patronage of the arts
A moment from a 2018 adaptation of the original play performed in Lucknow. PIC COURTESY/YOUTUBE
Rama is in a fix, Lakshman is at his wit’s end, and if you head to Neeraj Singh’s Ravan Leela tomorrow, you’ll find yourself equally perplexed. In this play-within-a-play that tells the story of a Ram Leela production unfolding in a fictional village, the ten-headed antagonist takes hostage not just Sita, but the entire production. His demand is a corporate manager’s worst nightmare — he wants a 400 per cent raise, and he wants it now.
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Written by Sangeet Natak Akademi Award winner playwright Dr Kusum Kumar in 1980, the play follows an amateur theatre group’s attempt to stage Ram Leela in Jigarpur. “Things go south when the actor playing Ravan has a mid-performance epiphany, and refuses to die at the hands of Rama unless he is given fair compensation for the day’s work,” Singh explains. What ensues is chaos of epic proportions, quite literally.
Actors playing Ravan and Sita rehearse a scene at an Andheri studio
Growing up in Uttar Pradesh’s Lucknow, Singh knows the extravagant Dussehra tradition like the back of his hand. “The essence of Ram Leela is in its exaggeration. It’s not as if the story of Ramayana has changed with time. What manages to draw in people year after year is the animated performances by the semi-professional troupes that make the story relatable,” he shares. It was a staging of Dr Kumar’s play in his hometown in 2018, however, that hit a tad too close to home.
Also Read: A tour through Navratri and Dussehra celebrations across India
Singh gives us a sneak peek of an exchange where the organiser, Kashiram, reasons with Ravan claiming his funds have dried up after bribing the local authorities and cops, leaving him no option but to cut corners. “When I approach venues or producers in real life with my troupe to seek funding for our plays, we’re often met with similar excuses and ultimately, rejection,” he sighs. In the play, however, Ravan retorts. Pointing to his protruding belly he exclaims, “You fill the treasuries of those above you, but what about this one? It needs a refill too.”
The cast rehearses an act centred on the character (centre) Kashiram
With most of these lines adapted from the original play, the greater challenge in directing the play, Singh says, was writing lines for the audience of Jigarpur that is slowly losing its patience. “It’s the first time I had to direct an audience. Because they are seated with their backs to the real audience, their actions must express their frustrations,” he laughs. And express, they do. What begins with hurling insults at the stage, soon turns into a barrage of tomatoes, eggs, onions, and anything the villagers can get their hands on. “Leave the vegetables out of this, do you know how expensive they are?” Ravan calmly negotiates.
Neeraj Singh
All things said, done, and thrown, Singh shares his takeaway from the 1980 play, “We often think the protagonist owns the story. But in Jigarpur, as it is in real life, the antagonist, the troublemaker, and the revolter, all play a role in bringing forth the truth.” Does that mean Ravan finally gets that 400 per cent raise, we ask Singh. While the director prefers we don’t spoil the climax for you, let’s just say as always, truth prevails.
ON October 15; 7.30 pm
AT Veda Kunba Theatre, Four Bungalows, Andheri West.
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