The play is a fine adaptation of Miro Gavran’s original AN ACTOR DIES BUT… Rooted in the very vicissitudes of life in the theatre, the play emerges as a dialogue between an actor and an actress, each representing their world-view of the theatre.
The actor is a staunch supporter of experimental and challenging theatre and the actress has made her mark as a commercial stage artiste. For the actor, commercial theatre is a sham and he cannot bear to be associated with it. On the other hand, for the actress, commercial theatre is necessary as far as the economics of survival go even as she supports the cause of meaningful theatre. The play assumes the shape of ‘a play within a play’ and explores the nuances of the relationship that forms between the actor and the actress.
While theatre people are bound to recognize the debate in the play to be at the very heart of the profession itself, audiences in general will also like the imaginative way in which the writer has struck up a relationship between the two thespians. The Marathi adaptation has superbly weaved in contemporary references from the Marathi theatre fraternity and from Indian theatre in general and this effort has infused the original with a new ethos altogether.