‘In the village below, there are a lot of men whose houses are on this side but their farms on the other,’ Majeed began to stutter in answer. ‘There are men in a similar situation in villages on the other side too whose houses and farms are thus divided. Families and relations too. So . . .’
Gulzar writes with poignant power on the horrors of Partition, exploring the lives of those who have lived on the border made heartbreakingly complex with a sudden, arbitrary line whose scar spans generations. Major Kulwant has grown up in the valley, and he now returns as a soldier to guard it. What happens when he finds out that his old childhood friend is an enemy across the line? A touching story on how friendship and hope blooms in defiance of nationalism brought to life with the joys of a childhood in Punjab.
‘The rain was unrelenting. It had poured night and day, for five days in a row. And Damoo had been drinking relentlessly, day and night, all through those five days, competing with the downpour. Neither would the rain let up nor would Damoo let go. The steadfast rain and stubborn Damoo. Drunk, both.’
Gulzar writes a wrenching account of the Mumbai Floods – rains that laid waste to a city already bursting at the seams. He draws out the small hopes on which the people live and how easily they can flow away. How long can alcohol hold the rain at bay? A deeply moving, unsettling story on what it takes to stay alive.
The Stench paints a poignant portrait of Mumbai’s characteristic slums in the masterful prose of Gulzar. Delicately woven stories all come together – from the bitter-gourd vine separating two shanty huts, to the camaraderie of men who’d gather together on charpoys outside their homes in the evening light. Life in the slum was hard and grim, but it was theirs. But one morning, the shanty towns are razed and the people are given neat, sterile rooms to be packed in away from sight. Where will the precious goats and chickens grow on the third floor? The concrete gathers no moss, but no green blooms within these four unyielding walls. The question remains – is a life you don’t know a life you will ever want? Gulzar draws the loneliness and chaos of the urban life with astute brilliance in this beautifully detailed insight into Mumbai slums.
Gulzar reminisces about an old school poet – an eccentric man named Bhushan Banmali. Bhushan had a wife and a mother but at heart he was a nomad, and one day when their tug-of-war over him got too much, he packed his bags and moved in with Gulzar himself! Suddenly Gulzar found himself at parties full of rum and fried fish and kebabs, overflowing with poetry from dawn to dusk. One day Gulzar and Bhushan pack their bags to go to the mountains, and freezing and tired, they manage to find a spark of generosity to keep their cold nights hilariously warm. Taken from Gulzar’s life, these stories will enthrall any fan with a universally heartwarming touch.
Jairaj Parekh and his wife Ratna, aging Bharatnatyam dancers, are engaged in finding a substitute mridangam player to accompany their daughter Lata at her performance at a high-profile dance festival. Lata, in the meantime, nervously awaits the meeting between her parents and Viswas, the young man she wishes to marry. When the four meet, and in the conversations and discussions that follow, the fissures in the relationship between Jairaj and Ratna begin to explode into high-strung battles which lead back to their own youth and the tragedy that lies at the heart of their discord. The younger couple have their own issues to contend with: the obvious mismatch between the two sets of parents, the arguments over Lata’s career as a dancer after marriage and most unsettling of all, Lata’s attempt to balance her parents’ ambition with her own needs and desires. A brilliant study of human relationships and weaknesses framed by the age-old battle between tradition and youthful rebellion, Dance Like a Man has been hailed as one of the best works of the dramatic imagination in recent times.
First staged in Mumbai in 1991, Bravely Fought the Queen juggles between two spaces-center stage where an empirical drama removes the mask of hypocrisy from a seemingly ‘normal’ urban household; and a small, rear backdrop from where emerges the raison d’être of each protagonist. The family in focus is that of two brothers, Jiten and Nitin, who run an advertising agency and are married to sisters: Dolly and Alka. Their mother, Baa, moves between the two households, attached more to her memories of the past than to any present reality. Marital friction, sibling rivalry, the traditional tension between mother-in-law and daughters-in-law, the darker moments of business and personal dealings, the play takes us through the entire gamut of emotional experience as it winds to a climactic finish. With its relentless pace, crisp idiom and unflinching insight into the urban milieu, this is a play that confirms Mahesh Dattani’s reputation as India’s most influential playwright.
When Bharat takes over his father’s shop, he doesn’t know that the factory sends over the ‘defect’ goods to a charity, as a gift. The system has been in place for years, but yet when he sees his goods leaving without his permission, he demands that Sudha Murty come to him in person and make a request anew. Sudha knows that he is acting out, a child having to fill his father’s shoes, desperate to be seen as important, to earn respect. What should she do? Emotionally compelling and subtly generous, Sudha Murty beautifully articulates the difference between fighting and forgiving.
Shraddha is a ritual where once a year, three generations of elders who have passed away are venerated by their loved ones. When Sudha Murthy went to perform the shraddha for her father, she was turned away, because she was a woman. “No woman has ever performed this ritual,” the pandit said.
Sudha Murty questions the importance of meaningless ritual while still being devoted to tradition – what does it mean to be a religious woman in the 21st century? A searching and powerful piece on reaching a balance between old and the new as a woman.
How deep is the love of a good woman? Sudha Murty unpacks the love of three different women, in how they go against society’s demands for selfless acts. Each woman knows the struggles they face to find water every day. Each woman knows that the power to bring water to homes lies only in the hands of powerful men. Each woman does what is needed to make sure that happens anyway. The struggle and pain of being a good woman in rural India is brought to life beautifully by Sudha Murty.
When a farmer invites another to come live with him and help with his farm, he thought it would be easy. But their wives cannot get along. Kashibai is hard working with a temper, and Fatimabai is lazy with a gentle nature. Through years of irreconcilable strife, a sudden tragedy pulls the life of these women inextricably together. Can a woman really surpass her own unhappiness for the sake of her enemy’s child? Sudha Murty gently tells this eternal tale of struggle and redemption through the power of a mother’s love.
