Circa a decade ago, actor-director Chandan Roy Sanyal started off his theatrical journey under the mentorship of the late Habib Tanvir. Since then, he has been part of many splendid productions including SAKHARAM BINDER, MINORITIES and Tim Supple's A MIDSUMMER NIGHT'S DREAM. Then, earlier this year, the long-locks actor made his foray into Hindi cinema with a power-packed performance in Vishal Bhardwaj's film Kaminey. Around the same time, he staged THE CHUGADDHAM SYM-PHONEY without much fanfare at Vile Parle's Sathye Auditorium. The play, adapted from the legendary opera of Bertolt Brecht and Kurt Weill's THE RISE AND FALL OF THE CITY OF MAHAGONNY, also marks the first independent production of his theatre company Proscenium Productions. The 29-year-old theatrewallah, who is in the process of wrapping a film, directed by Mayur Puri, Tell Me Oh Khuda, opposite actress Esha Deol, will soon start shooting for Nawaab Nautanki, directed by Neelima Azim.However, right now, his attention is diverted back to CHUGADDHAM again, as after adding some finesse to the play, he returns with the second innings at Nariman Point's National Centre for the Performing Arts. "I have taken this project upon myself and I am not going to leave it until and unless I am fully satisfied," he asserts. So with much ado, Reema Gehi, vicariously, treads the road to Mahagonny with Chandan Roy Sanyal to find out...
Reema Gehi
How did the idea of the play come about?
The concept evolved almost a year ago, when I was in Canada, touring with A Midsummer Night's Dream. I attended a Bertolt Brecht workshop, at the Performing Arts Centre in Ottawa. One of the many plays, which they read and discussed, was THE RISE AND FALL OF THE CITY OF MAHOGANY. It is about an imaginary place started by two convicts and a prostitute. I got very interested in the basic premise of the play and thought to myself that if I ever want to direct another play, it would perhaps be this one. A fair amount of time went by and I forgot about the play. Anyway, at that time, I was also a bit apprehensive to direct another play, but Ramu's (Ramanathan) encouragement was a reassurance of some sorts. So, I started reading several plays. In fact, I almost finalised Luigi Pirandello's Six Characters in Search of An Author, but soon I lost interest in that play. And it is pointless to do a play, which you have very little interest in...
Then one day, out of nowhere, I thought of the play I had read in Canada. I went online and read some more about the play, but could not get hold of the full script. Incidentally, Vishal Bhardwaj has a huge collection of Brecht's work. He helped me with the original script.
Do you think the Brechtian theatre still works?
I am a huge fan of Bertolt Brecht. In fact, even while staging my second play ASHAD KA EK DIN I used the Brecht technique. I can relate to it, so as a director it works for me. But I am not quite sure if it would still work with the audience. Maybe, I will have a clearer answer once the production has had a substantial run-through.
How did the play shape into this arduously long project?
It has been a very challenging project. For starters, when I first read the entire play, I found the texture of the language very English. I couldn't really connect with it. You see, sometimes, I find it very hard to connect with plays in Mumbai because it is very much anglicised. I am most comfortable speaking in Hindi, so I got hold of the Hindi translation of the play by Vivek Mishra, from National School of Drama. Later, I sat with both the scripts, merged the ideas together and made it my own. Once I got the first draft of the script ready, I started looking for a music director. Initially, I wanted the band Orange Tree to compose the music for the play, but that among other things too didn't work out.
What were the other challenges that you faced while staging a production of such a large scale?
Finding actors was one of the biggest challenges. People have come and gone, but you know what, I don't blame them. Who would have the time to commit for so many months to a play that doesn't pay? I staged the play out of my own money. After two previews and seven months of rigorous rehearsals, I was left with nothing. It is hard labour and the process is still on. It is a designed project.
The production staged at Vile Parle's Sathye College Auditorium wasn't really publicised or made known to many theatregoers.
To be honest, I wanted it to be that way. What we staged there was only a preview. Like I said, it was and it still is a work in progress. The intention was to get the actors, some of whom are completely new to theatre, to be on stage and feel the energy. Until the preview day, most of them didn't know the simple technicalities of the way a play is staged. I wanted to make them understand the dynamics of it. As for me, I wanted to gauge the first reactions of the people.
What kind of feedback did the first run-through generate?
I thought a few people would turn up, but we were greeted with two houseful shows and that, by itself, was overwhelming. Fortunately and surprisingly, many people liked it. Some didn't, which is fine by me. A few of my theatre friends, who watched it, gave me some constructive feedback. I have incorporated their suggestions in the recent production.
What are your expectations from the play now?
I want the play to appeal to the youngsters. However, at the same time, I don't want the audience to feel comfortable when they watch my play. I am not a big fan of easy theatre. I am a very visually oriented person. You could say the play is somewhat inspired by the way A Midsummer... is designed, wherein the play goes beyond the actor. Incidentally, Tim Supple, the director of A Midsummer... came to watch one of the rehearsals. He told me that the production is a reflection of who I am, for me that was one of the biggest compliments and I do hope to retain that in this production. I guess that has become my main concern.
Are you more comfortable playing the role of an actor or donning the hat of a director?
An actor's job is fairly simple compared to that of a director. But being a director has made me more responsible as an actor. I understand the hardships a director has to go through while staging a play or making a film.
Do you think theatre actors can find their foothold in films? They somehow always end up playing second fiddle to the 'hero' ...
The only time I have ever acknowledged a 'hero' in a film is Amitabh Bachchan in Trishul. Otherwise, I don't know, what is the concept of a 'hero'? If you're talking about Kaminey, then I'll say Vishal Bhardwaj is the hero of the film. He made that film. He created those characters.
What was the response to your character (Mikhail) in Kaminey like?
(Smiles) I am very humbled by the response I have received. To my luck, I have managed to get more offers after the film. I am happy. Initially, it was very hard for me to find work. It has been quite a struggle to get here. But be it theatre or films, I still aspire to leave a mark in the field of acting. I came to the city (Mumbai) with a lot of hunger and it has only gotten bigger. I truly feel like a frog prince... kissed by destiny.
Reema Gehi is a theatre enthusiast and a freelance journalist. Currently, she is completing her Masters in Journalism Studies from Cardiff University, UK.
How did the idea of the play come about?
