After writing screenplays for Zubeidaa, Sardari Begum, Mammo and writing-directing Silsilay, Tehzeeb, Tareekh and Fiza,noted film critic Khalid Mohamed comes up with another autobiographical tale, but this time he makes his debut in the theatre with it. Blending the elements of Bollywood and high art, his play centres around Mumbai's fabled Kennedy Bridge, the abode of courtesans. He reveals why all of his creative ventures must be about empowerment of women.
Congratulations on your theatre debut. But really what attracts you to theatre?
Primarily I am a film journalist. Filmmaking was a progression. But filmmaking ...that's a burden with too many interventions. When my film,Dilrubadidn't happen due to creative differences, I started to think about writing a play. Play writing was much more independent, I felt. Then my friend Deepa Gahlot introduced me to noted theatre producer Ashwin Gidwani. He said I could go ahead right away and that's how I wrote KENNEDY BRIDGE and directed it as well.
You appear to be carrying a Bollywood hangover in the play. The buzz is that it is to be like a Broadway musical bonanza replete with song and dance?
KENNEDY BRIDGE is part real-life account and part theatre. I didn't want to do traditional, orthodox theatre. So it is a blend of many elements which include Bollywood, choreography, high art and music. My play is like my personality - quite eclectic. But let me add here that it is not a vanity exercise at all. It picks up various influences and showcases the passing away of the kotha culture. First there were kothas, and then came the call girls and now the escort service. But essentially, all my creative ventures must be about women's empowerment as I have been brought up by strong women.
What is the creative difference between film and play writing?
Theatre writing for me is much more fluid; it gives me greater freedom of expression. In film writing there is a format to be followed - a film must be written for 2 and1/2 hours, it must have an interval point and a climax. But my first effort at playwriting came out as a flood. I could experiment on the basis of my experiences and research.
But the common thing between both genres is that the story should make an emotional connect with the audience. While entertaining I have to make a point about women's empowerment.
To construct the story, I returned to Kennedy Bridge, the compound, the school maidan, the once-classy kotha edifice, obviously aware that it would have all changed drastically. It has to.
So how close a view have you really had of a kotha and the courtesans therein?
I have seen a kotha as a kid. I was eight or so when I first met Shehzadi - though she would not let me into the kotha - I got to know a lot of things there. By the time I was 15, I'd sneak into the kotha and watch things quietly but closely. The atmosphere was rarefied and romantic, on the lines of Japanese geisha houses.
Have you heard of the famous Marathi play, HAMIDABAICHI KOTHI? - it has a similar premise.
It was Vijaya Mehta's play but I had seen it as a telefilm starring Nana Patekar. It had the same backdrop but the story is not anywhere similar. KENNEDY BRIDGE is an 8-year-old's viewpoint of a kotha and then his changing impressions of it as he grows up.
You have an awesome technical crew, like noted artist Chintan Upadhyay designing the sets for you. Whose idea was it to rope him in - yours or your producer Ashvin Gidwani's?
My idea! Chintan is a close friend. I have had him do sketches to illustrate cover stories on terrorism, etc. I have also had this kind of a close relationship with MF Hussain and his art. He hadn't been keeping too well since last couple of years... otherwise I would have asked him to contribute his art to my play in some way. I am also using some of Akbar Padamsee's works in the play.
How did you get Himesh Reshamiya to compose a mujra for the play?
Himesh is also a dear friend. He's quite brilliant and quite misunderstood. He's very prolific. He offers 10-20 alternatives for one song and then you don't know which to pick. He'd promised to compose music for my next film. When the film didn't happen and the play took off - he became a part of it nonetheless.
You have leveraged your friendship rather well in the play. The premiere show of the play promises to be a star-studded bonanza?
Oh no! I won't say that...but those of my friends from the film industry who really care for me - will be there.
Strangely enough none of your Bollywood friends are seen in the cast...
(Cautiously) Let's not get into that. But I have a brilliant cast - Richa Chaddha from Oye Lucky Lucky Oye playing the lead is brilliant and Manav Gohil who essays my part has been my favourite from his tele serials. I admire his look - neat physique, eyes and his voice. I never thought he would do my play and I had initially cast another actor in the role...rehearsed with him and somewhere in-between he just vanished. Then I summoned courage to message Manav with an offer and he replied straight -'affirmative'. Then I have Achint Kaur who's simply flawless on stage.
After the opening shows in Mumbai, are there any travel plans for the play?
KENNEDY BRIDGE has a cast of nine actors including two child artistes and a troupe of 12 dancers. So it is a big group to travel with. As of now, I don't know of anything other than the Mumbai shows.
What are your expectations from the play and what can the audience expect from it?
This medium has challenged me tremendously and it has taken us a whole year to put this play together. I just hope it appeals to the audience. I am trying to tell an emotional story...very honestly... I hope that the viewers will absorb that intensity and feel it.
Have you been exposed to theatre earlier?
When I joined the Times of India, I was asked to review plays and the first play I reviewed was AADHE ADHOORE with Amrish Puri in the cast at Tejpal Auditorium. Subsequently I watched a lot of theatre by Satyadev Dubey and Badal Sircar's plays. I was blown away by Vijay Tendulkar's GHASHIRAM KOTWAL. So I have had a lot of exposure to theatre.
I catch plays sporadically at Prithvi. Since I stay in South Mumbai, the distance prevents me from watching many plays. I watched Manav Kaul's MAMTAZ BHAI PATANGWALE. Feroz Khan directs very elegantly - I have seen his TUMHARI AMRITA. I have judged intercollegiate competitions organized by IPTA. So theatre is ingrained in me.
What's next on your agenda - a play or a film?
After this I have a small, intimate play called HELLO GOODBYE which I would like to do. I have a contract for a book of 12 short stories entitled 'Personal Effects'. Another upcoming book is 'My conversations with RGV'. So there are some books in the pipeline.
*Deepa Ranade is a film and theatre reviewer. She has been an entertainment journalist for over fifteen years.
Congratulations on your theatre debut. But really what attracts you to theatre? 
