Thank you all for the encouragement of our efforts to put up what was Mithya's biggest production so far!
Personally I feel a big void in life because there is nothing to do. (Of course there is work, there are chores, activities here and there, but NO Practice! No time to while away anymore!) It is upsetting! For about 40 days or more the Mithya group has been involved in coming together and put up a play as serious, as intense and as big as this one. Is there any wonder, then, that there should be many memories attached to this play?
Now, I may write a mushy narrative of experiences during the play in future but for now, here is my tribute to all those involved in the play. I'll call them Myth Ya Right! Awards - more for the contortion of the original word than for lack of better names like Awards... (Only some find a mention but that is only because of my frequent interaction with them.)
The award for best:
Lighting: Saptarshi Bandyopadhyay - Not as much for stage lights and related labor as for displaying a kid-like glint in his eyes when he found a trolley on which he could stand and move about. Together with Sonal Mithal he successfully blared strong lights into everyone's eyes. No surprise then that he'd done something to cause the audiences to have tears in their eyes. At the sets he'd often climb up the ladder at the drop of a hat to stand right next to intense lights. He'd then pick a person to talk to, call him/her, the person would look up, and... well... profanity would follow!
His dedication to serious work would come to the fore when someone would mention food! From that mention to the time food was with him, he'd be serious about work. Then he'd get back to his buffoonery, often sounding like Sourav Ganguly!
Music: Ganesan, Nachiket and Usman - for successfully preparing actors and cue masters for SNAFUs or bloopers on stage. It was only one day before the actual play that they realized they weren't composing for a spoof. Until then they'd take turns to deliberately mistime the sound cues. It wasn't until the last show that everyone realized how much that helped the actors develop a knack for maintaining calm in the event of an actual F&&& up! Must be geniuses! About the music pieces, Usman was stunned to learn that he wasn't composing for Coke Studio or Atif Aslam's latest album!
Cue Manager (sound and light box): Sonal Mithal - After auditioning people for that role she only thought it morally improper to take up the lead role. So she decided to be the production manager. (Besides no one had the patience to appease Mithya's president should she fuss and cry over something!) One of the key hands behind making the Uncle look shabby, she'd not suggest a rockstar kind of costumes for the uncle! If the music and light folks were not bungling, it was Sonal who'd deliberately mislead Jay and others. That explains the nothing that was done on the first day the theater was handed to Mithya! Her fascination for fancy equipment overcame her and she used that whole day to play her version of PS3! Together with Saptarshi she'd create the occasional halos around actors under the pretext of faulty equipment!
Cue Master: Jay Chheda - For bungling Uncle Vinay's cues until even the final dress rehearsal. Sources say that he did that deliberately to have my on-stage presence to as minimum a time as possible! Sources also say that the director suggested this. After the award, I re-christen him to "Q (Kyu)Master?" He also gets the award for best backstage management because he had a very Old Parsi Pappa look a la Munnabhai MBBS! Some actors claim to have heard him say to himself between cues "Rani to pappani!" An actor complained in private that Jay's hastening between scenes nearly caused a dressing blooper that'd have caused nightmares to the on-lookers. Esp Mala Kathhhri!Also nominated and nearly won the award for Mr Consistent performer for having mimed Paperwallahs gay actions on all 3 shows from behind the stage! He only lost the award because he lost control of the backstage crew every time he did that. (Hard to get people to work when they're rolling on their stomachs!)
Make-up artist/Shadow actress: Sarah Brown - for working hard on make-up and doubling up as backstage crew as well as shadow of Mala! Her skills were more in the way she disguised her nervousness to show Mala's shyness/discomfort and reluctance at the psychiatrist's office! Rumors have it that she was the brain behind what is accepted as the Asst Director's master stroke of tiring/stressing the actors! She had minimum work to do then, but maximum credit for the make-up. Her item dances during practices earned her the sobriquet of "Gulaabon". Her ability to learn fast was demonstrated through her quick usages of un-parliamentary words in Hindi! Gulaabon delicately lent herself to the production work too. Or so she made people believe! No one realized her scheme of pointing to her shadow appearance as a reason for not doing much work. An actor under conditions of anonymity confessed that Gulaabon would just sit in the blue light backstage. He shudders at the thought of being revealed to her, lest he gets to hear her full range vocabulary in Hindi!
Publicity: Namita Narain and Ankit Chandra - Former (Namita) for bullying the actors into submission during interviews. But just when the actors realized they were being bullied, she'd sugar coat them with compliments and assurances to be natural on the cam. Flatter them with "You guys are amazing! I was always a tree in plays!" Word has it that she had to work on her bullying skills when despite all her efforts, there was a great turn-out for all 3 shows. We had to do something about the extra people that wanted to be let in... Her bullying worked wonders to hush up one actor who'd refuse to give up on his gimmicks! Always the one to add fire to fuel, she'd assure (false assurance) "setting up" between 2 people any time!
The latter (Ankit) more for publicizing his singing than directing all traffic to the latest play in the blog site until just the day before the 1st show. His altruism and efforts behind the stage were manifest in how he'd lend himself to the Asst Director as a favorite punch bag! His best contribution to publicity was to get his girlfriend to fly in from Pittsburgh. At the least that worked... His best production work was in getting food and thereby keeping perpetually hungry beings like Saptarshi interested in the play!
Director: Radha Venkatagiri - For being the Sonia Gandhi for her puppet (Sibin Mohan)! Her charm worked its way to new comers, one of whom would occasionally claim Radha to be his fiance instead of Radhika!
Also gets the award for assisting with the make-up (read: scrubbing faces and eyelids to redness/soreness). The important inspiration from her for everyone came when shed narrate fictitious tales of how she'd not get high at all and that she'd drink 10 shots and sue the liquor maker for making flavored water!
Assistant Director: Sibin Mohan - for his masterpiece when he came up with the idea to make the whole thing look natural. He is a Neo-director trying to make his mark but boy! His ploy to tire the headlights out of 2 actors such that they actually appear and act old (also tired) seemed to work wonders. Friends of the 2 actors who sat in the audience couldn't recognize them even days after the last show!
The stress was working on Mala Cuttery too except that Sibin, smartly, would pat her shoulder assuring that she was the best actress he ever worked with! It didn't work on Deepak because his mind was always on Hookah, Shayari and Liquor, not on the play! His best contribution was during those days that he wasn't in town for the practices!
He reportedly went on record saying that this was going to be his last play as a director. Pity the newcomers took that as a carrot tied to a stick. If only they'd known that that was what he mentioned last time too. The straight face that he puts it with often made onlookers think that he was Mithya's best actor so far!
Versatile actor: Mohin Khushani - for his versatile roles. His Looney Tunes-esque portrayal of the paperwallah, Sarkar-esque portrayal of the Barista and and Drunken-man-who-ain't-knows-the-difference-between-beer-and-wine portrayal of the Waiter wasn't what earned him the award. It was not even for his butt-thrusting a la Saurav Ganguly! His award was for wooing and accepting his co-star (a change from his days when he'd shudder at the thought of being seen with girls), for pretending to study for a fictitious exam when help was needed backstage and for his publicity interview. In fact the meaty part of his role was when he successfully held his chuckle and tried to seriously say that the person playing the Uncle was his favorite actor. To this day no one bought that, but hey he convinced himself! That is quality acting...
Junior artist/ Backstage intern: Dhruv Mehta - After his raunchy back massaging dance he'd slip into the production crew's dress code with more fuss than even Charlie Sheen could create! Dopey dance with wannabe accent seems to be the thing with Junior artists. They also refuse to share a dressing mirror/chair. He started the Junior Artists' rebellion in the dressing room but quietly led it from behind the Doofus-faced Khushani! Khushani would bark vehemently about how difficult it was to sit on a fellow Junior artist's lap during make-up etc. He'd create a ruckus in the dressing room, and when outside it, he'd look to show his non-existent cricketing prowess! Renuka, the jewelry designer and Nachiket's wife, held more sharp catches than Dhruv and Khushani put together!
Mr Nice guy/ soft spoken actor award: Aviral Jain - Coming from the village of La Mart-in-here he was always raised to leave enough room for the audience interpret the play in their own way! Very good practice except when it comes to saying one's dialogues so softly that the audience cannot hear anything, thereby leaving no choice but to imagine/extrapolate those lines!
His only line in the play (he used often) that made sense and men could readily associate with and feel ever so emotional about was "What do you mean? This just doesn't make sense!" (said with a gawky expression...)
The nice guy bit is for promising intoxicants to the lead actresses but never doing it. Chivalry indeed! Sources suspect the low-voice-syndrome in the play was because of repeated stress of the throat (read gasp+gulp) every time he saw Strawberries & Cream in action (read Girl-on-girl)!
He definitely helped keep everyone's moral high by plugging in earplugs and listening to random stuff instead of reciting Shayaris or narrating stories from Luck-No or La Marts! (In which case it gave Sonal - Aviral's best audience - an excuse to not work despite her not needing one.)
Actress/Glamdoll: Nisha Somnath - Every actor/actress in a given famous movie has a famous thing noted in it. Dharmendra for his "Yamla Pagla" dance and "Basanti in kutton ke saamne..." Amitabh for "Mera baap chor hai" Raj Kapoor for his right palm to the audience, light nod and Bambi eyes saying something like "Ok ji", Al Pacino's dance in "Scent of a woman", Yana Gupta's "Babuji" song.
Our Nisha has done it all. She oozed oomph through her high heels. That was the single major factor for her glamdoll tag. Her gait changed greatly with her skimpy and tight outfits, but not more than with the heels. A candid man in the audience wrote in his feedback, "Dear Mithya, all was ok! I loved everything about the play! But must you really have a horse to transport crew and actors from one side of the stage to the other?"
Her method acting must be lauded. She deliberately estranges her real life chemistry with her onstage mother and uncle so as to give her best performance. So what if despite that she couldn't act.
Her most noted lines/words in the play - "Eh! Did my scene with Spurr-tee come out well? I think it fell flat!"
"But how am I acting?" "Ehh I am not doing it well. Maybe you should find a better actress!" (Sibin's integrity was put to maximum test every time Nisha asked him for feedback on her acting. Best Director indeed!)
Words that really moved/reduced the co-actors to tears, "Deii! You are Deid! There is no Llleww for me! Lizzen!" (for Die! You are dead! There is no love for me! Listen!) (from sitting on chair to ROTFL, i.e.)
Upcoming star/Stacey's mom: Spurti Akki - for integrating her on-stage character into real life behavior. Every time a co-actor would ask her for coffee she'd readily peruse her lines from the play, "Huh? (and look lost)" Her peak acting was when she'd be upset over not being allowed to go to her "lab". (At the rate at which she was claiming things about her lab and/or work she should got either a Nobel Prize or an Oscar!)
Her portrayal of Mala's mother beat "Stacey's mom" by miles! People went gaga over her - not as much for her graceful looking saree as much for her impressions of old actresses in old songs.
Nisha's lines may or may not make her famous, but this starlet's lines "It is going to rain ALL NIGHT!" said no less than a million times by now will occupy the Mithya billboards for eons to come! In a given play her frustration (at the weather forecast not being heeded to) building up each time she said the line was impressive and definitely what made audiences go back home with a moral of the story! Last heard from sources, she was considering a career switch. She wants to replace Ravi Shastri as a cliche generator! (Both lines from the play and outside of it!)
She's taken to stardom like a Royal pig takes to a dirty sty! Last seen on the streets she was throwing tantrums about a spoon not being at the precise temperature in a restaurant and that it was hard for her to maintain her schedules with so many people interrupting her for autographs!
Best actress overall: Who said you needed to be on stage or in the whole movie to act? Anthony Hopkins won Oscar for a short duration in the film! Radhika is our such example. She went a step ahead. As an actor that never appeared, she mixed her emotions in an inimitable manner - romance, anger, catwalk, understanding and sharing & caring nature, etc!
Special thanks: Mehul Thakkar - for making his involvement with this play a minimum. With the feedback from the play and with more ideas, he is sure he can do better at that!
Personally I feel a big void in life because there is nothing to do. (Of course there is work, there are chores, activities here and there, but NO Practice! No time to while away anymore!) It is upsetting! For about 40 days or more the Mithya group has been involved in coming together and put up a play as serious, as intense and as big as this one. Is there any wonder, then, that there should be many memories attached to this play?
Now, I may write a mushy narrative of experiences during the play in future but for now, here is my tribute to all those involved in the play. I'll call them Myth Ya Right! Awards - more for the contortion of the original word than for lack of better names like
The award for best:
Lighting: Saptarshi Bandyopadhyay - Not as much for stage lights and related labor as for displaying a kid-like glint in his eyes when he found a trolley on which he could stand and move about. Together with Sonal Mithal he successfully blared strong lights into everyone's eyes. No surprise then that he'd done something to cause the audiences to have tears in their eyes. At the sets he'd often climb up the ladder at the drop of a hat to stand right next to intense lights. He'd then pick a person to talk to, call him/her, the person would look up, and... well... profanity would follow!
His dedication to serious work would come to the fore when someone would mention food! From that mention to the time food was with him, he'd be serious about work. Then he'd get back to his buffoonery, often sounding like Sourav Ganguly!
Music: Ganesan, Nachiket and Usman - for successfully preparing actors and cue masters for SNAFUs or bloopers on stage. It was only one day before the actual play that they realized they weren't composing for a spoof. Until then they'd take turns to deliberately mistime the sound cues. It wasn't until the last show that everyone realized how much that helped the actors develop a knack for maintaining calm in the event of an actual F&&& up! Must be geniuses! About the music pieces, Usman was stunned to learn that he wasn't composing for Coke Studio or Atif Aslam's latest album!
Cue Manager (sound and light box): Sonal Mithal - After auditioning people for that role she only thought it morally improper to take up the lead role. So she decided to be the production manager. (Besides no one had the patience to appease Mithya's president should she fuss and cry over something!) One of the key hands behind making the Uncle look shabby, she'd not suggest a rockstar kind of costumes for the uncle! If the music and light folks were not bungling, it was Sonal who'd deliberately mislead Jay and others. That explains the nothing that was done on the first day the theater was handed to Mithya! Her fascination for fancy equipment overcame her and she used that whole day to play her version of PS3! Together with Saptarshi she'd create the occasional halos around actors under the pretext of faulty equipment!
Cue Master: Jay Chheda - For bungling Uncle Vinay's cues until even the final dress rehearsal. Sources say that he did that deliberately to have my on-stage presence to as minimum a time as possible! Sources also say that the director suggested this. After the award, I re-christen him to "Q (Kyu)Master?" He also gets the award for best backstage management because he had a very Old Parsi Pappa look a la Munnabhai MBBS! Some actors claim to have heard him say to himself between cues "Rani to pappani!" An actor complained in private that Jay's hastening between scenes nearly caused a dressing blooper that'd have caused nightmares to the on-lookers. Esp Mala Kathhhri!Also nominated and nearly won the award for Mr Consistent performer for having mimed Paperwallahs gay actions on all 3 shows from behind the stage! He only lost the award because he lost control of the backstage crew every time he did that. (Hard to get people to work when they're rolling on their stomachs!)
Make-up artist/Shadow actress: Sarah Brown - for working hard on make-up and doubling up as backstage crew as well as shadow of Mala! Her skills were more in the way she disguised her nervousness to show Mala's shyness/discomfort and reluctance at the psychiatrist's office! Rumors have it that she was the brain behind what is accepted as the Asst Director's master stroke of tiring/stressing the actors! She had minimum work to do then, but maximum credit for the make-up. Her item dances during practices earned her the sobriquet of "Gulaabon". Her ability to learn fast was demonstrated through her quick usages of un-parliamentary words in Hindi! Gulaabon delicately lent herself to the production work too. Or so she made people believe! No one realized her scheme of pointing to her shadow appearance as a reason for not doing much work. An actor under conditions of anonymity confessed that Gulaabon would just sit in the blue light backstage. He shudders at the thought of being revealed to her, lest he gets to hear her full range vocabulary in Hindi!
Publicity: Namita Narain and Ankit Chandra - Former (Namita) for bullying the actors into submission during interviews. But just when the actors realized they were being bullied, she'd sugar coat them with compliments and assurances to be natural on the cam. Flatter them with "You guys are amazing! I was always a tree in plays!" Word has it that she had to work on her bullying skills when despite all her efforts, there was a great turn-out for all 3 shows. We had to do something about the extra people that wanted to be let in... Her bullying worked wonders to hush up one actor who'd refuse to give up on his gimmicks! Always the one to add fire to fuel, she'd assure (false assurance) "setting up" between 2 people any time!
The latter (Ankit) more for publicizing his singing than directing all traffic to the latest play in the blog site until just the day before the 1st show. His altruism and efforts behind the stage were manifest in how he'd lend himself to the Asst Director as a favorite punch bag! His best contribution to publicity was to get his girlfriend to fly in from Pittsburgh. At the least that worked... His best production work was in getting food and thereby keeping perpetually hungry beings like Saptarshi interested in the play!
Director: Radha Venkatagiri - For being the Sonia Gandhi for her puppet (Sibin Mohan)! Her charm worked its way to new comers, one of whom would occasionally claim Radha to be his fiance instead of Radhika!
Also gets the award for assisting with the make-up (read: scrubbing faces and eyelids to redness/soreness). The important inspiration from her for everyone came when shed narrate fictitious tales of how she'd not get high at all and that she'd drink 10 shots and sue the liquor maker for making flavored water!
The stress was working on Mala Cuttery too except that Sibin, smartly, would pat her shoulder assuring that she was the best actress he ever worked with! It didn't work on Deepak because his mind was always on Hookah, Shayari and Liquor, not on the play! His best contribution was during those days that he wasn't in town for the practices!
He reportedly went on record saying that this was going to be his last play as a director. Pity the newcomers took that as a carrot tied to a stick. If only they'd known that that was what he mentioned last time too. The straight face that he puts it with often made onlookers think that he was Mithya's best actor so far!
Versatile actor: Mohin Khushani - for his versatile roles. His Looney Tunes-esque portrayal of the paperwallah, Sarkar-esque portrayal of the Barista and and Drunken-man-who-ain't-knows-the-difference-between-beer-and-wine portrayal of the Waiter wasn't what earned him the award. It was not even for his butt-thrusting a la Saurav Ganguly! His award was for wooing and accepting his co-star (a change from his days when he'd shudder at the thought of being seen with girls), for pretending to study for a fictitious exam when help was needed backstage and for his publicity interview. In fact the meaty part of his role was when he successfully held his chuckle and tried to seriously say that the person playing the Uncle was his favorite actor. To this day no one bought that, but hey he convinced himself! That is quality acting...
Junior artist/ Backstage intern: Dhruv Mehta - After his raunchy back massaging dance he'd slip into the production crew's dress code with more fuss than even Charlie Sheen could create! Dopey dance with wannabe accent seems to be the thing with Junior artists. They also refuse to share a dressing mirror/chair. He started the Junior Artists' rebellion in the dressing room but quietly led it from behind the Doofus-faced Khushani! Khushani would bark vehemently about how difficult it was to sit on a fellow Junior artist's lap during make-up etc. He'd create a ruckus in the dressing room, and when outside it, he'd look to show his non-existent cricketing prowess! Renuka, the jewelry designer and Nachiket's wife, held more sharp catches than Dhruv and Khushani put together!
Mr Nice guy/ soft spoken actor award: Aviral Jain - Coming from the village of La Mart-in-here he was always raised to leave enough room for the audience interpret the play in their own way! Very good practice except when it comes to saying one's dialogues so softly that the audience cannot hear anything, thereby leaving no choice but to imagine/extrapolate those lines!
His only line in the play (he used often) that made sense and men could readily associate with and feel ever so emotional about was "What do you mean? This just doesn't make sense!" (said with a gawky expression...)
The nice guy bit is for promising intoxicants to the lead actresses but never doing it. Chivalry indeed! Sources suspect the low-voice-syndrome in the play was because of repeated stress of the throat (read gasp+gulp) every time he saw Strawberries & Cream in action (read Girl-on-girl)!
He definitely helped keep everyone's moral high by plugging in earplugs and listening to random stuff instead of reciting Shayaris or narrating stories from Luck-No or La Marts! (In which case it gave Sonal - Aviral's best audience - an excuse to not work despite her not needing one.)
Actress/Glamdoll: Nisha Somnath - Every actor/actress in a given famous movie has a famous thing noted in it. Dharmendra for his "Yamla Pagla" dance and "Basanti in kutton ke saamne..." Amitabh for "Mera baap chor hai" Raj Kapoor for his right palm to the audience, light nod and Bambi eyes saying something like "Ok ji", Al Pacino's dance in "Scent of a woman", Yana Gupta's "Babuji" song.
Our Nisha has done it all. She oozed oomph through her high heels. That was the single major factor for her glamdoll tag. Her gait changed greatly with her skimpy and tight outfits, but not more than with the heels. A candid man in the audience wrote in his feedback, "Dear Mithya, all was ok! I loved everything about the play! But must you really have a horse to transport crew and actors from one side of the stage to the other?"
Her method acting must be lauded. She deliberately estranges her real life chemistry with her onstage mother and uncle so as to give her best performance. So what if despite that she couldn't act.
Her most noted lines/words in the play - "Eh! Did my scene with Spurr-tee come out well? I think it fell flat!"
"But how am I acting?" "Ehh I am not doing it well. Maybe you should find a better actress!" (Sibin's integrity was put to maximum test every time Nisha asked him for feedback on her acting. Best Director indeed!)
Words that really moved/reduced the co-actors to tears, "Deii! You are Deid! There is no Llleww for me! Lizzen!" (for Die! You are dead! There is no love for me! Listen!) (from sitting on chair to ROTFL, i.e.)
Upcoming star/Stacey's mom: Spurti Akki - for integrating her on-stage character into real life behavior. Every time a co-actor would ask her for coffee she'd readily peruse her lines from the play, "Huh? (and look lost)" Her peak acting was when she'd be upset over not being allowed to go to her "lab". (At the rate at which she was claiming things about her lab and/or work she should got either a Nobel Prize or an Oscar!)
Her portrayal of Mala's mother beat "Stacey's mom" by miles! People went gaga over her - not as much for her graceful looking saree as much for her impressions of old actresses in old songs.
Nisha's lines may or may not make her famous, but this starlet's lines "It is going to rain ALL NIGHT!" said no less than a million times by now will occupy the Mithya billboards for eons to come! In a given play her frustration (at the weather forecast not being heeded to) building up each time she said the line was impressive and definitely what made audiences go back home with a moral of the story! Last heard from sources, she was considering a career switch. She wants to replace Ravi Shastri as a cliche generator! (Both lines from the play and outside of it!)
She's taken to stardom like a Royal pig takes to a dirty sty! Last seen on the streets she was throwing tantrums about a spoon not being at the precise temperature in a restaurant and that it was hard for her to maintain her schedules with so many people interrupting her for autographs!
Best actress overall: Who said you needed to be on stage or in the whole movie to act? Anthony Hopkins won Oscar for a short duration in the film! Radhika is our such example. She went a step ahead. As an actor that never appeared, she mixed her emotions in an inimitable manner - romance, anger, catwalk, understanding and sharing & caring nature, etc!
Special thanks: Mehul Thakkar - for making his involvement with this play a minimum. With the feedback from the play and with more ideas, he is sure he can do better at that!
