As I sat in the audience waiting for the play to start, I took notice of the cutely done up stage. It gave a very homely feeling and the simplicity was what gave the play its realistic edge. An ‘Ekjute’ theatre production, the plays introduces us to an actor who needs no introduction. Director cum actor, she is fantastic in the play. Also having Directed, Daya Shankar Ki Diary and other brilliant plays, Nadir Zaheer Babbar brings forth to audiences, ‘Sandhya Chaya’. The very title suggests that at the end of the day, all that parents want, is for their kids to be home and support them in their old age. The play revolves around two old people, nana (Sheikh Asmi) and Nani (Nadira Babbar). The play unfolds and we find comic situations in the play when nana’s servant, played by Hanif Patni, does not allow nana to do any work. Also, husband and wife share a very special bond and there is a lot of freeness in their relationship. The play takes us into the lives of Nana and Nani, where loneliness threatens to take over their old age.
Their loneliness is conveyed through small incidences in the play. For e.g. when a girl named Madhuri mistakenly calls up nana instead of her grandfather. Nana instantly take a liking to this little, school going girl and takes her phone number on a piece of a paper. He also becomes her grandfather, because he and Nani have always dreamt of becoming grandparents. At every opportunity, he calls Madhuri, but unfortunately, as luck will have it, her not so polite grandfather picks up the phone and does not give it to Madhuri. Another instance in the play is when Vinay, (played by Prakash Soni), looking for accommodation, lands up at Nana, Nani’s house instead of the actual house he is supposed to go to. Once again, Nana and Nani take an instant liking to him. They even ask Vinay to stay with them, free of cost with food, accommodation and a telephone. However, his lonely mama needs him and he cannot commit to Nana and Nani.
Once again, Nana and Nani are left to kill the emptiness that gnaws them constantly. However, Vinay does not forget them and occasionally calls them and visits them. Through further conversation, they decide to play matchmakers for their son Deenu (who resides in New York) and Vinay’s sister. Their elder son Deenu has not returned home in 8 years. Deenu keeps sending money to his old parents. On one such occasion, a person comes from New York to deliver money to nana. By mistake, he lets out that Deenu is already married. All hopes are shattered. The old couple who always dreamt of finding a good bahu for their son Deenu are on the brink of collapsing emotionally. This is the moment in the play when audiences are transcended into the world of the characters and we feel as if nana and nana are our very own people. One cannot help empathizing with these parents.
Nana and Nani then decide to set up their younger son Nandu, with Vinay’s sister.However, Nandu who is a soldier for the BSF is assigned a special task. However, due to unfortunate circumstances, he loses his life-encountering terrorists. This further adds to the grief of Nana and Nani. In this way, they lose both their sons. Deenu, who is with them, is still not theirs. Shown on one side is the image of Deenu who does not want to come back to India, because he feels India is for old, helpless people. It is the land of cheaters. Moreover, juxtaposed to his image, is the image of Nandu, who sacrifices his life for his country. Nandu’s death forces Deenu to come to his mother country. His parents try to force him to stay back but Deenu does not agree. This leads to a lot of tension between father and son. And once again, we are put in a familiar situation. At some point in the play, one feels like literally consoling the old parents, so convincing and natural is their performance. In their state of unhappiness and misery, they remember their daughter, the Late Malu. Nana and Nani have no one to turn to, and in these times, Vinay becomes their pillar of support. Also shown remarkably are the various situations parents have to go through for their children. It highlights the plight of parents, who have sent their kids abroad and some, who like nana and Nani have no hope of their children returning.
The performances in the play are brilliant. During the second act, a slight disturbance was caused when the filter paper got burnt. However, the professionalism of the actors on stage was very impressive. It is one of the very fine plays that one saw after a very long time. Plays like this should continue to be staged; the play comes as a breath of fresh air.
It gave a very homely feeling and the simplicity was what gave the play its realistic edge. An ‘Ekjute’ theatre production, the plays introduces us to an actor who needs no introduction. Director cum actor, she is fantastic in the play. Also having Directed, Daya Shankar Ki Diary and other brilliant plays, Nadir Zaheer Babbar brings forth to audiences, ‘Sandhya Chaya’. The very title suggests that at the end of the day, all that parents want, is for their kids to be home and support them in their old age. The play revolves around two old people, nana (Sheikh Asmi) and Nani (Nadira Babbar). The play unfolds and we find comic situations in the play when nana’s servant, played by Hanif Patni, does not allow nana to do any work. Also, husband and wife share a very special bond and there is a lot of freeness in their relationship. The play takes us into the lives of Nana and Nani, where loneliness threatens to take over their old age.
emptiness that gnaws them constantly. However, Vinay does not forget them and occasionally calls them and visits them. Through further conversation, they decide to play matchmakers for their son Deenu (who resides in New York) and Vinay’s sister. Their elder son Deenu has not returned home in 8 years. Deenu keeps sending money to his old parents. On one such occasion, a person comes from New York to deliver money to nana. By mistake, he lets out that Deenu is already married. All hopes are shattered. The old couple who always dreamt of finding a good bahu for their son Deenu are on the brink of collapsing emotionally. This is the moment in the play when audiences are transcended into the world of the characters and we feel as if nana and nana are our very own people. One cannot help empathizing with these parents. 
