Aarambh Production's UMRAO was the first among the premiering shows at the Prithvi Festival 2013. With noted Urdu poet Nida Fazli introducing the play, and then taking a seat in the audience, the play raised the bar for itself even before the opening lights hit the stage. The team putting up the play - director Hidayat Sami, adaptation and choreography by Purva Naresh, music composition by Rekha Bhardwaj, sound designer Gopal Dutt, lights by Arghya Lahiri and Gurleen Judge and set design by Vivek Jadhav - is a showcase of some of the best names within the Mumbai theatre fraternity today. The play clearly deserved a formidable backing. After all, it's not an easy task to present Mirza Muhammed Hadi Ruswa's work on stage.
The play follows the known path of Umrao's story - from a childhood cut short for the sake of revenge, to a nubile danseuse and songstress who sparkles the evenings of Lucknow and eventually a weather-worn woman, not knowing where life will take her next. The play begins with a disoriented Umrao being taken back to her childhood, to a few days before the young Amiran is to get married. The young bride-to-be is kidnapped and sold to a kotha in Lucknow. Influenced by her childhood and Badi Bi's training, Umrao grows into a nuanced young woman as the country veers towards the first scuffling for freedom around 1857. Shuttling from one city, Umrao faces numerous twists of fate until the very end. The play follows the familiar storyline, more or less.
The highlight of the play is its music. Purva and Gopal have become a strong team through the years and Rekha Bharadwaj's contribution only makes the combination sweeter. Trisha Kale scores with her voice, even though she might have a lot of catching up to do as an actor. Even the leading lady, Neetu Chandra, manages to hold the audience with her songs, if not her stage presence. The big takeaway of the play (the moment that makes you wish the team would make its music available to its audience beyond the black box) comes as the lights dim. As the play nears its end, Ameeran's Ammi (Piloo Vidyarthi) hums a soulful gauna and leaves the audience sniffling just before they leave the auditorium.
Among the team of actors, only Shubrajyoti Barat deserves a special mention. Most actors, including Aman Uppal as Nawab Sultan, make a feeble entry and remain a step behind Shubrajyoti, who wins hearts as Umrao's last earnest friend, Gohar. His portrayal of the many other characters is what keeps the play interesting through its two hours.
Hida's (as Hidayat Sami is known in theatre circles and among friends) portrayal of Umrao on stage is a commendable effort. However, as you exit the auditorium, Rekha's Umrao occupies all thoughts and one wishes for a quiet evening spent with Asha Bhonsle's soulful voice. Muzaffar Ali's Umrao remains untouchable.
*Aditi Sharma enjoys watching theatre and writing about it.
The play follows the known path of Umrao's story - from a childhood cut short for the sake of revenge, to a nubile danseuse and songstress who sparkles the evenings of Lucknow and eventually a weather-worn woman, not knowing where life will take her next. The play begins with a disoriented Umrao being taken back to her childhood, to a few days before the young Amiran is to get married. The young bride-to-be is kidnapped and sold to a kotha in Lucknow. Influenced by her childhood and Badi Bi's training, Umrao grows into a nuanced young woman as the country veers towards the first scuffling for freedom around 1857. Shuttling from one city, Umrao faces numerous twists of fate until the very end. The play follows the familiar storyline, more or less.
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