A backstage view of the collaborative effort by two rival theatre companies, who set aside personal maan and apmaan to mount a milestone Marathi musical
Director Hrishikesh Joshi gives last minute tips to actors before the show
In 1911, Krishnaji Prabhakar Khadilkar wrote Manapman, a play that became a cornerstone of Marathi theatre with its message of setting aside personal pride in favour of collective ideals. A decade later, during the Non-Cooperation Movement, Mahatma Gandhi announced the formation of the Tilak Swaraj Fund to honour Bal Gangadhar Tilak on his first death anniversary. Inspired by this call, two prominent rival theatre companies—Bal Gandharva’s Gandharva Natak Mandali and Keshavrao Bhosale’s Lalitkaladarsh—chose to collaborate on a joint production of Manapman, which they had previously staged separately.
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Despite warnings from ardent fans that an alliance might dilute individual followings, the two legends prioritised higher purpose over personal gain, delivering Sanyukta Manapman as an unprecedented symbol of cultural unity and patriotic spirit. Just as India was rallying toward Independence, the play’s message—that personal pride (maan) should yield to a greater cause—resonated powerfully as Marathi theatre’s tribute to both Mahatma Gandhi and Lokmanya Tilak.
Singer-actor Ajinkya Ponkshe plays Queen Bhamini (modelled on the version earlier played by Bal Gandharva) alongside Omkar Prabhughate who takes on as the role of Dhairyadhar
Manapman explores Queen Bhamini’s journey after realizing the hollowness of appearances, a theme that resonates universally in a world captivated by superficial allure. The 2024 production, Gosht Sanyukta Manapmanachi, powerfully reaffirms this message. Produced by Natya Sampada Kalamanch and written (very well) by Abhiram Bhadkamkar, the two-and-a-half-hour play is directed by Hrishikesh Joshi, a respected actor known as the poster boy of Marathi comedy. While Joshi doesn’t perform in the play, his involvement has drawn significant social media buzz, adding a touch of glamour to a largely unfamiliar cast. While the play will be showcased at the prestigious Bharat Rang Mahotsav 2025 (Feb 8) in New Delhi, it is currently being performed all over Maharashtra.
Joshi is an out-and-out great performer. This columnist would cross a few rivers and move 10-odd mountains to catch a glimpse of him on screen or stage, even on a Diwali holiday. I must say, Joshi always delivers, regardless of the lamest scripts, loudest screenplays, or best-to-worst co-actors. Even in the current offstage directorial role, he always stays open to suggestions, actively engaging with people to understand their responses.
A slapstick note in the new Marathi musical, Gosht Sanyukta Manapmanachi
“We have just begun the journey,” says Joshi who succeeds in placing the script in a wider, national context. “Since we are travelling back to 1920, we will take time to arrive at the right tonality. The good news is that so many people have welcomed the idea, and from outside theatre circuits too.”
The new production underlines the noble public service role played by the Marathi musical theatre tradition, especially the progressive causes of popular plays—Sangeet Sharada opposed child marriage; Sangeet Saubhadra underscored women’s choice and dignity. For Sanyukta Manapman, Joshi leverages the ritualistic Nati Sutradhar’s quick-witted exchanges to ground the play in contemporary 2024 Maharashtra. This approach transforms the production from a mere homage to tradition into a vibrant, relevant experience.
Travel Back To 1921: The original poster of Sanyukta Manapman
Since Sanyukta Manapman centers on backstage efforts, only a small portion involves actual musical performances, which serve more to set the scene than to define the play’s core. The “embedded” play structure demands skilful execution, as considerable time and energy are devoted to establishing the nuances of Marathi musicals— patterns, key stakeholders, scale, budgets, social acceptance, and audience reception. The first 15–20 minutes are dedicated to grounding the characters in the niche world, using slapstick humour (slightly overdone) to introduce the universe. Figures like Bal Gandharva and Keshavrao Bhosale can’t simply be sprung on the audience without a preparatory lead-in, so the play makes substantial effort to present history in an accessible way. After all, it can’t be assumed that even Marathi theatregoers are fully familiar with the past—let alone audiences from beyond.
The play admittedly begins on an over-the-top note, as battle lines are drawn between the Bal Gandharva camp and the Keshavrao Bhosale camp. Their fans squabble over the idea of collaborating on a joint production, especially since not all actors from both troupes can be accommodated. Those not selected become a source of tension, which is such a true-to-life scenario. Also, actors on both sides feel unfairly overshadowed by their counterparts. The meeting between the two troupes to finalize the cast, performance schedules, rehearsals, and publicity is hilarious.
The actors portraying Bal Gandharva (Aashish Newwalkar) and Keshavrao Bhosale (Rushikesh Wamburkar) are a joy to watch. Newwalkar’s portrayal of Gandharva is particularly daring, as he takes on a role famously played by Subodh Bhave in the recent film, where Bhave’s facial resemblance and performance were widely celebrated. Despite this high bar, Newwalkar brings confidence and compelling depth to the character. Two younger singer-actors also play the characters that Gandharva (Bhamini–Ajinkya Ponkshe) and Bhosale (Dhairyadhar–Omkar Prabhughate) performed in Manapman, creating a delightful quartet in the play-within-a-play.
Joshi plays to the gallery while giving full mileage and stage time to the original natya padas, which remain popular—Shoora Mee Vandile, Ya Naval Nayanotsava, Chandrika Hi Janu, Mala Madan Bhase. It is these that drew natural calls for encores, a testament to the enduring appeal of the lyrics. Incidentally, a film on the story of Manapman is to come in January 2025.
The play’s success lies in its ability to balance nostalgia with the grander impulse behind the collaborative production. Both Gandharva and Bhosale were deeply committed to putting aside personal preferences. The play subtly captures this, showing how their dedication transcended individual roles. Music is central to this production, with Kaushal Inamdar’s direction highlighting its power to heal, unite, and build bonds. Rather than emphasizing rivalry, music embodies the passion for art which brought two greats together for Manapman’s single performance on July 8, 1921. In the solo show, Bal Gandharva was 33 and Bhosale was 31.
Had it not been for Bhosale’s untimely death three months later, the duo might have collaborated on more projects. Bhosale, ever generous, even hoped to see Bal Gandharva freed from his debt. In today’s climate of rivalries, competition, and jealousies in the arts, the two are perennial inspirations. Directors and producers in Marathi, Hindi, and other circuits rarely cooperate with each other as well as these two did.
As producer Anant Panshikar puts it, staging Manapman speaks to a wide range of theatre stakeholders. Panshikar, who has worked across diverse scripts—from Samuel Beckett’s Waiting for Godot to Sai Paranjpe’s Albel (based on Sartre’s No Exit), the folk play Viccha Mazhi Puri Kara—finds this project uniquely rewarding. “Loftier instincts make you think of art in its grandest and most generous form,” he says.
Post-COVID, collaboration has become an essential requirement as it hasn’t been easy for actors, directors, and producers to regain their footing. This production stands as a testament to the power of joining forces to create meaningful theatre.
Sumedha Raikar-Mhatre is a culture columnist in search of the sub-text. You can reach her at sumedha.raikar@mid-day.com
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