‘Musical theatre is self-assessment tool’

After devoting much of the past four decades of his life to acting on stage, television and films, Ramesh Bhatkar turns tuneful with his debut on musical stage in Marathi play ‘Yayati Ani Devayani’



Ramesh Bhatkar


Best known for his roles of strikingly handsome, classically heroic, strong-minded and intrinsically intelligent supercop in TV series like ‘Commander’ and ‘Hello Inspector’, Ramesh Bhatkar is probably the first and only ‘angry young man’ of the Marathi industry. After spending nearly four eventful decades as an accomplished actor, he is now in mood to relish the contentment he derived from his widespread successful career.
Accepting new challenges is in his instinct, so, it wasn’t surprising when Ramesh Bhatkar made his debut in Sangeet Natak last year with ‘Yayati Ani Devayani’. The Vidarbha tour of this play has already begun and the team is in Nagpur nowadays to stage shows.

“I was excited to be a part of the greatest tradition of Marathi theatre – the musical plays!” says Ramesh, who terms himself as a good listener of music, but a bad singer. “I am not singing in this play. My character is of King Yayati, and I have only prose dialogues.”

However, rendering classic and poetic dialogues was real challenge. “It tests your language skills, and knowledge. I term musical theatre as self-assessment tool for an artist,” he says.
Bhatkar, notably, is the first actor from Mumbai mainstream who joined Jhadipatti theatre movement. “I did Jhadipatti for almost three years. It was enriching experience. People here are wonderful, and audience is well-mannered and cultured. I discontinued when I got engaged with music theatre,” he explains.

With a career that includes about 30 television serials and numerous Marathi, Hindi movies, Ramesh Bhatkar finds no suitable offer these days. “The ‘Marathiness’ is no more with Marathi television now. We see lavish bungalows, rich families, and storylines copied from Hindi. I don’t want to work in this atmosphere just for the sake of money,” he says firmly.
“However, I like to keep myself fit and fine for any role,” when he says, one realises how his looks belie his age.
While speaking on Nagpur, he recalls his frequent visits to the city during ‘Ashrunchi Zali Fule’ days. “No commercial Marathi drama completes without its show in Nagpur,” he says. As his play is scheduled in the evening, Ramesh Bhatkar enjoys roaming around the city, and visiting some popular places. “I am planning to go for a movie, suggest me a good theatre,” he quickly asks, followed by his trademark smile.


Cutting of the same article appeared in The Hitavada
(All photographs by Satish Raut)



Theatre is a mission for them

Not entertainment but enlightenment is what team Bahujan Rangbhoomi aims for while performing. The term ‘experimental’ means ‘experience-based’ for these creative rebels and ‘success’ means social awareness instead of mementoes and award certificates


Passion with persistance: Young team of Bahujan Rangbhoomi group with its
Founder President Virendra Ganvir (centre).  


LOOKING back at the two-decade long journey of ‘Bahujan Rangbhoomi’, established formally in 1990, makes Virendra Ganvir emotional. His boys and girls come from financially, intellectually, and educationally backward homes, with a desire to do something creative. Virendra welcomes them in the world of theatre and with his creative ability; changes them into confident, independent and respectable youths.

Today, with over 250 kids and youths attached to it, Bahujan Rangbhoomi is probably the biggest children’s drama group in Vidarbha. They are consistently doing children’s theatre since 1990. Award winning children’s play, ‘Naga Ra Baba Shala’, ‘Footpath’ and mega drama ‘Chale Hum Prabuddha Bharat Ki Aur’ are just a few names from hundreds of plays staged by the group. They are also known for producing plays based on the principles of Ambedkarite Buddhism, highlighting the native Buddhist culture of India.
“For us, theatre is a social mission. It is a self-realization exercise,” Virendra speaks out the point which sets his group apart from others.

“Our mission aims at a strong, comprehensive and thought-provoking theatre which will spread awareness among the downtrodden and bring them into mainstream,” he elaborates. Indeed, Virendra started with mainstream theatre. Here, most of the people made an issue of his faulty pronunciation but no one came forward to teach him the right thing. Observation then became his sole companion. Today, boys groomed under him speak flawless Marathi confidently.

“I have no regrets for them because twenty years ago, circumstances were different. Even today, our (backward class) kids really lack in proper dialect, language skills, and pronunciation, but, they are improving rapidly,” he says. Education and career are the two aspects on which his group emphasizes a lot. They highlight these issues through their plays, and also through the free camps they conduct for kids.
Boys like Trushant Ingle and Suhas Khandare who emerged from Bahujan Rangbhoomi are working in the television and film industry. Many others who were introduced to theatre by the group have pursued the same field and are learning at National School of Drama. Fine Arts graduate Surendra Wankhede has developed as a writer-director while Atul Somkuwar, Shruti Lokhande, Darshan Damodar and Rahul Meshram are known faces of the city’s theatre scene.

“With acting, Virendra asks us to observe every aspect of the drama – script-writing, direction, lights, sound, costume and set designing. This helps a lot in understanding theatre,” says Surendra, while Atul says, theatre has given him a sense of social responsibility.

They may have missed the opportunity, but members of Bahujan Rangbhoomi want upcoming talent to take up formal education in theatre. For this, they have a dream to establish a drama school where experts will come and impart training to kids. Their commitment to their mission will surely turn this dream into reality very soon.

Cutting of the same article published in The Hitavada on July 13

An institution within…

With most of its members post graduate in various streams including theatre and fine arts; Bodhi Foundation – true to its name -- is enlightening young artists and shaping new wings to Nagpur’s theatre

Young team of Bodhi Foundation Group (Pic by Satish Raut)

THEY used to wander around the Nagpur, working with different teams before the ‘conventional’ city artists forced Salim Sheikh and his friends to form their own group to bring alive their innovative concepts. Six years ago, theatre wing of Bodhi Foundation (noted cultural and social organization) was constituted. Since then, the group is leading the cultural scene in the city with methodically, technically and aesthetically rich presentation of novel themes on current social issues. At present, large number of young artists is attached with the group.

"For us, theatre is not occasional, seasonal, or year-long, but a life-long event," expresses Salim Sheikh (now, Prof Salim Sheikh, as he teaches theatre at Nagpur University). Truly, many from ‘Bodhi’ are building careers in this field. Pooja Pimpalkar, Manjushree Bhagat and Prashant Likhar are popular names in Jhadipatti theatre. They get jam-packed open theatres, enthusiastic crowd and good money in Jhadipatti. "The experimental theatre we do here rejuvenates us," Pooja says, explaining the reason why she takes out time from her profession for group activities.
"We meet frequently, discuss numerous themes for months, write scripts together, decide the direction points, technical innovations, and then start the rehearsals. However, anything and everything decided is subject to change during rehearsals," laughs Salim, the director and writer, guide and leader for the youngsters. "Right from actors, technicians, to the one who is handling back stage -- everyone has the freedom to ask questions and share ideas. I welcome it," he adds. Probably this is why they named their open theatre as ‘Muktangan’ (Free Space).

‘Muktangan’ was developed in the front yard of Rajaram Sitaram Dixit Library at Gokulpeth by its Secretary Bapu Chanakhekar, a guiding force for Bodhi members. "Bapu had a dream of having a rendezvous for artists. We are free to use the hall for practice and open theatre for shows. He is a motivator, who has solved the primary problem of practice hall," mentions Salim. Dr Lalit Khobragade is playing a permanent role of producer and is the driving force for the group, he adds.

The Bodhi Foundation team has Mithun Mitra, son of noted theatre activist Sapan Mitra, as their lightman while Fine Arts graduate Manoj Rangari designs sets. "Here I am free to look for new concepts in lighting. I get the freedom to think which is most precious for any creative artist," says Mithun, winner of a number of certificates and awards for his outstanding light effects. "I am not against the faith factor, but wasting important time before the presentation in praying and worshipping is unwise," he says, while explaining that theatre itself is a form of the Almighty and a flawless show is the best prayer.

True to this word, Bodhi Foundation team is offering the prayer of flawless presentations since the last six years. Maybe these prayers will help them to secure a membership of Akhil Bharatiya Marathi Natya Parishad, which has been their single-minded focus for the last few years.



(Cutting of the same article that was published in The Hitavada on July 11, 2011)



Joining hands for theatre...

They win hundreds of prizes and countless appreciation certificates, but ‘Rashtrabhasha Parivar’ theatre group concentrates on introducing the young breed to new day theatre.

Yahoo! Youngsters enjoy their stay with Rashtrabhasha Team (Picture by Anil Futane)

THE atmosphere at the Rashtrabhasha Parivar building at North Ambazari Road, Nagpur is lively with the enthusiasm emanating from youngsters busy in rehearsing for their upcoming theatrical performance. Three teams, around 50 girls and boys and all engaged in some or the other work. Dialogues, claps, shouts and songs create an exceptional blend of sound packing the hall with action.

"This is our practice hall," says Rupesh Pawar, a handsome young man in his mid-twenties. Presently, he leads the activity of Rashtrabhasha Parivar. Around a hundred youngsters from the city work together presenting a number of full length dramas and one act plays as part of their year-long activity. The group is known for its unconventional way of presenting novel subjects. Award-winning one act, ‘Taai’ and much-appreciated ‘Tirichha’ are popular names and speak about the taste of the group.

Rashtrabhasha Hall is like their headquarters. It is a rehearsal hall, restroom, theatre -- almost like a second home. "Nowadays, we are busy in preparations for ‘First Bell on Stage’ in which seven to eight plays will be performed on the same platform. We are converting the hall into a small auditorium," Rupesh points out.

"Here we give freedom and platform. One can try hand at writing, directing, acting or on the technical side, whatever one prefers," says Rupesh -- ‘Dada’ for all youngsters.

Along with him, Nasir Sheikh, Amit Shende, Dhananjay Mandavkar, Amit Umak, Aasawari Ramekar, Mithun Hatwar and many others are well-known names in experimental and amateur theatre these days. All have emerged from Rashtrabhasha Parivar.

Secretary of Rashtrabhasha Parivar, Sureshbabu Agrawal is their supporter and patron. "I support these youngsters because they are full of enthusiasm and intelligence. I have not done much, just allotted the hall for practice," Agrawal says humbly. However, for the team, he is a friend, philosopher and guide who always inspires them to do good work.

It is not that these people do not have worries. They have studies and careers too. But what pains them is that a career in the field they love the most -- theatre - is tough. "There are drawing teachers, dance teachers in schools, but drama teacher is always missing," laments Dhananjay Mandavkar. "It is not possible for everyone to go to Mumbai and struggle."

For Rupesh, the lack of formal training for youngsters is a point of worry. "Since last four years, not even a single theatre workshop has been organised in Nagpur. Earlier, we attended workshops and seminars here and learnt a lot from experts. But the next generation is missing all this," he says. Well, not exactly ‘all this’, as Rupesh and his friends are training youngsters. "We are not trainers, we work together," he makes it clear, while expressing confidence on the creative ability of his team. "We face difficulties and overcome them. We do not get sponsors so we contibute money on our own. We may have differences, but we join hands for theatre," Rupesh says with a smile -- which promises a bright future for the city’s theatre movement.

Cutting of the same article that appeared in The Hitavada