Purva Naresh's 2017 play, BANDISH 20-20000HZ, a part of this year's (2021) Aadyam's Digital Edition, is backed by sterling performances and legendary singer Shubha Mudgal's artful compositions. It may not be music to everyone's ears but BANDISH may come to mean a lot more to those nostalgic about our freedom struggle and ironically, have become prisoners to the baggage of outdated laws and repression that continues to confront us even 70 years after becoming a free democratic republic. BANDISH aims to underline the difference (or is it sameness?) between those talented artistes who saw the struggle for freedom first hand and are still inspired by those experiences as against the newer lot whose digitally enslaved lifestyles have invariably trivialised - more or less invalidating the freedoms that our forefathers sacrificed their lives for. This current series of enactments towards the end of January 2021 comes at a time when the farmers across the country are crying foul of the three farm laws and their revolt is being compared to certain aspects of the freedom struggle. In that sense, this play comes to the audience at an opportune occasion.
The intriguing, ambitious title BANDISH 20-20000HZ speaks of 'restraint/composition' within the frequencies the human ear is capable of hearing. The complexities of sound and eurhythmic variances that distinguish between noise, dialogue, song and music are all inherent aural aspects of any musical so this one, strictly speaking, is no different in that sense. There's classical song, bhav, nautanki theatrics, old worldly one-upmanship and new gen competitiveness all embroiled in a performance of vibrant complexities. This is a pre-recorded show shot and recorded live in an empty auditorium and live streamed on the anointed date.
An event meant to be graced by an administrative head, is being held to commemorate the occasion of 70 years of Independence wherein two yesteryear divas of classical and folk art will be honoured while two current day, hugely popular reality show winners will do the live/lip sync singing. The audience becomes privy to what transpires in the green room as the four artistes come together and begin lending voice to their respective egos instead of rehearsing for the event.
The play underlines the relevance of the enshrining of the Constitution as compared to the declaration of India's Independence. The play also highlights the differences in the concept of independence pre and early 1947 and in todays' context. BANDISH 20-20000HZ's aging protagonists Benibai (Nivedita Bhargava) the legendary Dhrupad Baithak exponent and Champabai (Anubha Fatehpuria) the folk (nautanki) artist are competitors of an era gone past, dependent on Munnu (Danish Hussain) to scurry around to their every whim while Kabir (Hitesh Bhojraj) and Maushami (Ipshita Chakraborty Singh ), competitors from Gen Next need no appendages to make their demands heard. Their social media handles and fans are enough to persuade or dissuade as the case may be. A frazzled organizer Babu ( Harsh Khurana) is the one having to be firm with monumental egos and capricious demands. The rest of the play concerns itself with peer rivalries, social media complications, naive overtures with nostalgic backflips and inspiring classical renditions (music composed by Shubha Mudgal and nazm by Kaifi Azmi about the Gandhi-Jinnah meeting) whilst highlighting figurative comparisons between the then and now. Juxtaposing restrictions imposed on artistes in the past and the present, Director Purva Naresh points out the discrepancies between what we fought for pre-1947 and what we hold today - how we have allowed the systematic dismantling of those very freedoms that our forefathers sacrificed their lives for. The set and production with definitive light and shadow compositions allow for smooth transitions with the performers providing enough zest and zeal to make their presence compelling. The musical interludes shine. Bhargava's wonderful rendition of Bahadur Shah Zafar's 'Ja Kahiyo,' Beni's final bow before being elbowed out, at All India Radio, ensemble singing through 'Victoria Rani,' 'Charkha Chala Chala Ke,' 'O Man Lagi' and Kaifi Azmi's 'Nuqoosh E Hasrat,' provide contrasting musical ripostes to a narrative that invokes the past so that blemishes in the present become more visible. The use of cameras though convenient (during the pandemic), takes a lot away from the live theatre experience. Naresh's script circles around the past and present without quite making it a sharpened critique of the toxic nationalism we are grappling with today. The attempt here is merely to make aware and not necessarily to rouse passions.
*Johnson Thomas is an independent critic and columnist.
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