The Akademi has planned a series of festivals in States/ UTs of the country to bring to the fore new talent in contemporary theatre. Under this series Rang Pratibha, a festival of plays by young directors of Gujarat was presented in the State of Gujarat

The festival was organized from 1 to 8 June 2006 at Surat in association with Gujarat Sangeet Natak Academy, Gandhinagar. It featured eight productions by young directors of Gujarat chosen by a committee of experts from the State.

Apart from performances, there were morning sessions for interactions for participating directors with local theatre experts. The Akademi invited Dr Atamjeet, director and playwright from Punjab, and Shri Vageesh Singh, actor, director and writer from
Delhi to interact with local theatre artists. The programme follows:

Sangeet Natak Akademi, New Delhi
in association with

Gujarat State Sangeet Natak Academy, Gandhinagar
cordially invite you to

1 - 8 June 2006
9 pm daily
Sardar Smruti Bhavan, Varachha Road, Surat

Inauguration
Shri Narottambhai Patel
Hon. Minister of Water Supply & Water Resources Department

Guest of Honour
Dr. Kanubhai Mavani
Hon. Mayor, Surat Municipal Corporation

Chief Guest
Shri Varun Maira, IAS
Principal Secretary - Sports, Youth & Culture, Government of Gujarat

Special Guest

Shri Pankaj Joshi, IAS
Commissioner, Surat Municipal Corporation

Programme

Thursday 1 June
Mithyabhiman
Shri Archan Trivedi.

Friday 2 June
Jasma Odan
Shri Kamlesh Prajapati

Saturday 3 June
Lady Lal Kunwar
Shri Viral Rachh

Sunday 4 June
Shivo Hum Shivo Hum
Shri Ashish Thakar

Monday 5 June
Nagamandala
Shri Darshan Purohit

Tuesday 6 June
Aa Chhokro Aej Chhe
Shri Dhwanil Parekh

Wednesday 7 June
Jabuke Chhe Jaat, Vizali Ni Vat
Shri Rafique Pathan

Thursday 8 June
Mithyabhiman
Shri Mahendrasinh Parmar

Mithyabhiman

Written by Kavi Shri DALPATRAM

Directed by Archan Trivedi

Synopsis of the Play

Mithyabhiman- is a play about a person who suffers a lot because of his hypocritical views and vainglory.

Jivram Bhatt is a person living in vain glory and is conceited in nature. An old man with the disability of night blindness, he is on his way to his in-¬laws to get his 5th wife.

On the way he meets Ranglo and two Bharwad servants of his in-laws who give him company for the long journey. But because of his ego and ill nature they leave him on the way.

Jivram Bhatt gets tired by evening and settles down near a dirty pit unable to go any further.

Finally he reaches his wife's home by morning. But his nature to boast never leaves him. People dislike his approach and beat him up. He suffers a lot and in the end when he is nearly dying he realizes that his present condition is due to his own hypocritical approach and vainglory.

Director's Note

Kavi Shri Dalpatram mentions in the preface of this play that this play is like "Bhungal Vinani Bhavai". The play has the essence of Bhavai and is very interesting like any Bhavai vesha, but is done in pure Play form and not Bhavai.

The play is bereft of any sets, in order to create the atmosphere of Bhavai and also to project the time - period. In this way we have tried to convey the idea of the writer's comparison with the play "Bhungal Venani Bhavai."

We have tried our best to make this presentation enjoyable with simple lightings, good music and a strong performance. We hope the humor and pun portrayed makes its point.

About the Director

Archan Trivedi has been in the field of drama and acting for the past 30 years and has been directing plays since 22 years. He has worked for more than 100 educational, developmental and commercial projects for stage and screen with many esteemed organizations like ISRO, DD (Ahmedabad), GIET and the Darpana Academy of Performing Arts. He has also been associated with many children and street plays.

He has won the Best Director and Best Actor award in 1986-87-88 for inter-state One Act competitions. He has been awarded the Junior Fellowship in 1999-2000 by the M.H.R.D for his work in Bhavai. He has received the Mrinalini Vikram Sarabhai award in 2004 and the Ushta-Te-Foundation Meher R. Contractor award for his achievements in dramatics and performing arts in 2006.

Cast

Ranglo : Mahesh Vaidya
Sutradhar : Raj Nayak
Bijal : Prashant Raval
Pancho : Girish Joshi
Raghnath : Devendra Dixit
Somnath : Kirit Upadhyay
Dev bai : Raxa Nayak
Padi : Jigisha Trivedi
Vaidraj : Mahesh Thakor
Jivram Bhatt : Archan Trivedi

Credits

Harmonium : Divyakant Mehta
Dholak : Jagdish Chauhan
Kanshi-joda : Bharat Raval
Singer's : Hetal Modi
Prarthita Trivedi
Khevna Pandya
Archan Trivedi
Sets : Ketan Kharsani
Lights : Arjav Trivedi
Costume : Salil Mehta
Property : Nirupama Trivedi
Make-up : Gunvant Gohil

Jasma Odan

Written by: Shanta Gandhi (originally in Hindi)

Directed and translated by Kamlesh Prajapati

Synopsis of the Play

The story revolves around Jasma who is an incarnation of an Apsara, in the court of Lord Indra. She is born in the community of 'auds' who are experts in building homes in mud and soil. She is born due to a curse.

This beautiful girl is unfortunately married to an ugly and handicapped man.

During that time Siddharaj Jaysinh, a popular and successful ruler of Patan was known for his flirtations. His court-poet Barot, happens to see Jasma but is humiliated by the community. Angered he decides to avenge his humiliation and describes the beauty of Jasma to the King and lures him to make her his Queen. The King invites the community to construct a lake. Seeing Jasma he is immediately taken by her beauty and tries to entice her. But Jasma proves to be a virtuous woman, true to her marriage, and rejects all the King's move to entice her.

The King tries to use force but the entire community come to Jasma's aid and revolt. They fight until death to the chastity of Jasma and she ultimately performs Sati and jumps into the funeral pyre of her husband.

The curse of Jasma is broken but she decides to stay back on earth and 1ive there as she had become fond of the place.

Director's Note

In the past few years, to make real life more fact oriented, the form of Bhavai was used. But does the representation of Bhavai today hold the same content. What does today's young generation have to say about this. In order to preserve the old traditions and moral values can the folk plays be helpful? If yes then how can it be helpful? To me this adaptation of Jasma Odan has been catering to all these questions.

I have tried to project it with a very positive approach. Jasma attains rebirth not becomes a Sati. The speciality of Bhavai is that we can show the most sad and worst things with a light and entertaining mood. Jasma Odan to me has fully justified this. All the negative and orthodox customs, including the dowry system has been incorporated

In the traditional version Jasma marries an old ugly man who is handicapped due to the force of her parents. But here she takes rebirth and marries Rupaji against the wishes of her parents and begins a new life. To avenge his insult Barot encourages King Siddharaj Jaysinh to make Jasma as queen. Jasma opposes and war ensures. Rupaji loses his life in the war and Jasma faints. In the end she does not follow the orthodox custom of the society and opposes Sati.

Similarly even the costumes are designed for the mood. Except the character of Jasma, all other characters are very comical. The nava rasas have been used aesthetically. The aangik, vaanchik, aaharya and saatvik abhinaya do full justice to the play. In all I feel Jasma Odan is not just a show but an experiment.

About the Director

Kamlesh Prajapati is a B. Com, LLB and P.G.D.L.S. He has attended Theatre workshops for the past three years organized by the Gujarat University. He has done a Theatre Acting Course for 2 years with NSD. He took training as Vidooshak in Rang Vidooshak repertory in 1991-92. He has been imparting training as a teacher in drama from 1996 till 2004.He has staged 217 different children and youth play. He has served as Judge at competitions organized by the Youth & Cultural Department for two years. He has conducted many training workshops. He has also been invited to be the judge at the Saurashtra University for two years. He has won several awards including the Best Director award from the Gujarat Government for Children Plays in 2003, the Best Director award from the All India Multi-lingual Drama competition in Orissa in 2005, Best Drama award from the Akhil Bharatiya Sanskrutik Samaroh in 2005, Best Play in Poona in 2006 and in 2006 he also won six awards at the All India Multi-Lingual Drama competition in Orissa.

Cast

Nayak : Bhupesh Vansjaliya
Ranglo : Rakesh Kadiya
Ganpati : Rizwan Salani
Indra : Sandip Kanpariya
Nalarushi : Tushar Pota
Kamkundla : Heena Dhela
Nilampari : Kaushambi Bhatt
Lilampari : Devanshi Shah
Silampari : Gayatri Raval
Dalo : Manish Nagevadeeya
Dali : Neha Mehta
Bhalo : Chetan Tank
Bhali : Jugta Dave
Pandit : Vikram Kushwah
Little Jasma : Sneha Vagheshvari
Jasma : Neepa Dave
Dudhmal : Vijay Mav
Siddharaj : Vijay Mer
Rupo : Dharmendra Pandya
Od : Bhupesh Vansjaliya, Sandip Kanpariya,
Sagar Dholariya
Odan : Devanshi Shah, Heena Dhela, Sneha
Vagheshvari, Kaushambi Bhatt, Anjali Yagnik, Chandni Joshi, Manshi Vyas, Swati Vyas
Sipai : Vikram Kushwah, Tushar Pota, Sagar Dholariya

Credits

Tabla : Hardik Patel
Harmonium : Harshal Mankad
Bhungal : Rambhai Kadiya
Production : Deepika Prajapati
Costume : Vijay Mer
Property : Hitesh Sinroja
Make-Up : Rakesh Kadiya
Lights : Hitesh Sinroja

Lady Lal Kunwar

Written by: Sitanshu Y. Mehta

Based on: Eduardad Philipoino's Filumina

Directed by: Viral Rachh

Synopsis of the Play

Lady Lal Kunwar is the story of "Lalbai". It is based on a true story during 1930. Lalbai, a Goanese woman, has spent her life as a mistress of a very kind and generous man Amarshi Narottam. The play starts on the day when Lalbai, trickily marries Sir Amarshi.

Gokuldas Sampat is a friend and brother to Sir Amarshi's late wife and also a witness and partner to Sir Amarshi's legal and illegal love affairs, so he also shows interest in Sir Amarshi's latest girl friend Rati Zaveri, which adds humor to the play.

Lalbai feels insecure about Rati's relation with Amarshi and marries him. But she also has another reason to marry Amarshi. She is mother to three children - Suresh a professor of Physics, Ketan a plastic businessman and Jayant a ladies tailor. Lalbai wants Amarshi to give them his name.

The humor and suspense is catchy, mind - blowing and entertaining.

Director's Note

I am generally attracted to scripts based on the conflicts of human relationships. I believe that shades, mood dimensions and complexity of human relationships are always intriguing and challenging.

When I first read Lady Lal Kunwar I was highly mesmerized by the character of Lalbai or Lady Lal Kunwar. It was character, her relations with Sir Amarshi, her commitment to her sons, her witty cunningness and her passion to achieve her goal and her sense of humor that inspired me to do this play.

Moreover, I firmly believe in realistic type of theatre. Theatre that directly reaches to the heart of the audience, provides entertainment, takes an emotional and intellectual journey with a subtle message in it. Lady Lal Kunwar is full of this. It, I shall say a director’s dream for the scope it provides to be creative in creating beautiful visuals, music, costumes, lights etc... I truly enjoyed the whole procedure.

The play would not have been possible, in the absence of soft-but firm encouraging words of guidance from respected Prof. Sitanshu Yashchandra Mehta, Dr. Pashmina Joshi, Jay Vithlani and Mr. Ketan Kanakhra who transformed my dream into reality, not to mention the entire cast, musicians and back stage workers.

About the Director

Viral Rachh has been associated with theatre since the last 15 years. He has directed about 40 one-act plays, 6 full-length plays and has also acted in a few of them. He is mainly associated with Hindi and Gujarati plays. He has bagged many awards in competitions conducted by Gujarat State Sangeet Natak Academy, and Youth Festivals including the Best Directors award. Few of his plays have also won at the National Level.

He initially learned theatre and direction skills on his own then later attended a Directors workshop organized by I.N.T. (Mumbai) at Ahmedabad under Shri Suresh Rajda. He recently won the prestigious Vishnukumar Vyas award for the best Director conduced by the Bhartiya Vidya Bhav Mumbai.

Cast

Lady Lal Kunwar : Dr. Pashmina Joshi
Sir Amarshi Narottam : Viral rachh
Gokulji Sampat : Jay Vithlani
Rati Zaveri : Aarti Malkaan
Kakubai : Gargi Mamtora
Suresh : Rohit Hariyani
Ketan : Deven Rathod
Jayant : Balkrishna ethw
Vithal : Abhay Dave
Radhe : Sandhya Rathod
Bhattji : Chintan Rathod
Fernandis : Piyush Khakkha
M.K. Makwana : Hemang Vyas

Credits

Music : Ketan Kanakhra
Vocal : Nidhi Maniar
Jitu Rathod
Vani Minaxi
Rhythm : Kapil Rathod
Keyboard : Udayan Bhatt
Make-up : Naimesh Tapodhar
Costume : Falguni Rachh
Himat Chandra
Set : Nishith Dhamecha
Kaushal Modi
Amit Pandya
Kunjan Shah
Back Stage : Dinesh Kanakhra
Khushbhu Vithlani
Dhaval Sheth
Mihir Pathak
Hemang Trivedi
Maulik Shah
Music Operation : Parth Shukla
Light : Tushar Rathod
Malay Doshi

Shivo Hum Shivo Hum

Written by: Ashish Thaker

Directed by: Ashish Thaker

Synopsis of the Play

This piece of dramatic art is based on the life and philosophy of Bhagvatpad Sri Adi Sankaracharya. For so many centuries Sankaracharya has not only been considered as a great man but also as a great cultural and religious force in Indian religion.

This biographical drama is based on many facts. From the time of his childhood and his quest for the real truth, to establishing the Matts (seats) at the four corners of the country. It covers his journey throughout India to spread culture and religion and his encounters with the great masters like Shri Kumarila Bhatt and Mandan Mishra. Along with this it describes the place of his birth, the superstitions, doubts, cynicism, the extremities of various sects, the whims of Kapalik Sadhana etc...This drama presents him as a saviour of Indian culture.

Director's Note

To know and understand Indian culture in its true sense in the present time one requires a journey through the roots of our cultural heritage. Amongst the many revolutions that of Jagadguru Adi Sankaracharya seems very prominent. It has great significance in reviving and redefining Indian religion. In today's world of science and technology, when the people have forgotten the true definition. of religion and when religion itself carries a contaminated and shallow definition, the philosophical thoughts of Adi Sankara are as applicable today as they were in the past. Even today India needs to understand the vision of the Jagadguru.

About the Director

Ashish G. Thaker is an M. Sc., M.Ed. And is a lecturer. He has won the first prize as Best Director in the Gujarat Samachar & I.N.T. One act play competition three times. He was also awarded the first prize in the same competition as Best Writer. For the past seven years he has been winning the Best One Act play the North Gujarat University festival. He has also won the Best Directors award from the Sabarkantha District Competition. He has written and directed many plays.

Cast

Sankaracharya : Aniket Thaker
Mandan Mishra &
Sureshwara : Prof. Rishikesh Raval
Padmapad : Gajendra Barot
Hastamalak : Krishnakant Vyas
Totakacharya : Hitesh Mehta
Guru Govindapad &
Pujari : Girdhari Gehani
Chandal & Kapalik : Jitu Bhil
Kapalik : Chandrakant
Kumarila Bhatt : Mahendra Parmar
Ved Vyasa & Prabhakar : Ratilal
Jaiminy : Kishore Patel
Mata : Linaben Joshi
Bal Shankar : Sarang Raval
Krishna : Nihar Bhil
Bal : Jimi Bhil
Ajay Chouhan
Ubhaya Bharti : Monika Modi
Shishya : Pankaj Limbachiya
Sandip Parmar

Credits

Music : Gaurav Joshi
Maunas Thaker
Lights : Mukesh Limbachiya
Vikram Shah
Make-up : Naimesh Tapodhan
Sets : Abhijit Rathor

Nagamandala

Written by: Girish Karnad
Translated by: Usha Upadhyay
Directed by: Darshan Purohit

Synopsis of the Play

The playwright bases his play on two mythical folktales of Karnataka. Here the play puts the playwright virtually in the form of Sutradhar of Old Sanskrit plays with even the Story itself and such functional characters as Flames also playing a critical role. The plot, as such, revolves around a young girl, Rani wedded to a man of dubious character named, Appanna, who acts the typical 'I am the master' husband role and expects his wife to submit unquestionably to his whims and caprices.

Locked all alone the whole day and night in a house by her husband, a frightened Rani finds some solace from a blind woman who talks with her through an open window. Blind woman and her son's sub-plot also points toward a mental state of human beings where one accepts a situation however uncomfortable, for one's own contentment.

But real complication enters with the entry of a King Cobra who has seen Rani once and instantly falls in love with her as devised by the myth. It is under the dark of the night that the Cobra moves into Rani's bedroom through the bathroom drain. As goes the legend, the Cobra has powers to assume human form. So, he dons the form of real Appanna. Though Rani at the time was asleep, his caresses wake her and she is surprised to see Appanna at this hour of the night.

But it is at this stage that complication phase II starts. Gradually winning her over, the 'other' Appanna (from here called Nagappa or Naga) paying a visit to her every night comes closer to her physically as well as mentally. Rani, not knowing who was real Appanna and who was fake, gets into man-wife relationship with Naga, which finally culminates in Rani getting pregnant, a condition which cannot be kept hidden for long. But Nagappa is not happy with it and it surprises Rani, an indication that she is still ignorant about the real Appanna. When the real Appanna comes to know about pregnancy, he is mad with rage and lodges complaint with Panchayat about his wife's infidelity.

Of the tests suggested by Panchayat, Rani chooses the one of putting her hand in the Cobra's hideout (as per Nagappa's instruction). The Cobra doesn't bite her, but out comes entwined to Rani's forearm. That proves her faithfulness. However, a doubt persists in real. Appanna's mind about her pregnancy, because he knows for sure that he had no physical contact with her. The child is born. One night the Naga enters Rani's bedroom where she is "asleep with her son and her true husband. This, in a way, could have been the average end, yet not acceptable to some. The playwright, hence, tries a new twist.

Nagappa passes through a phase of mental anguish as to whether he should kill Rani or kill himself. The Naga's final conclusion that she is a human being meant for a human being leads King Cobra to tie a long tress of Rani's hair as a noose round its neck and hide itself in her hair ¬thus committing suicide.

With the day dawning, as a comb is run through Rani's head which she felt very heavy a dead snake falls to the floor. That is when Rani demands that the dead Cobra be cremated and the fire should be lit by the child. Not only that, every year this cremation ritual has to be observed by the son. This yearly act is a holy Hindu ritual held in memory of paternal elders who no longer exist. What does it indicate? As real Appanna goes out to arrange for the funeral, Rani, as a final act on her part, picks up the dead snake and presses it to her cheeks - an obvious gesture of affection. The play ends on a tragic note which is not acceptable by the flames and they insist on a happy ending. They coax the man to change the end and prove his creative abilities. Hence, here the playwright brings about yet another end to the play acceptable by one and all. This again is a characteristic feature of our classical plays where traditionally no play ends on a tragic note.

Director's Note

I believe that among all the plays scripted by Shri Girish Karnad, the one that impressed me the most is Nagamandala. Based on two folktales from Karnataka, Karnad wrote this play during the year he spent at the University of Chicago as Visiting Professor and Fulbright Scholar in Residence. I have staged this play once in the Department of Dramatics, F.P.A., M.S.U., during my post¬graduate studies almost a decade back. The more I read the script, the more I rehearsed it, and sank deeper and deeper into it, I felt that there was still much in it that could be presented before an audience. I had a desire to stage it for a second time. That opportunity has come with my selection as director to present this play at Rang Pratibha-Festival of young theatre Directors of Gujarat at Surat, 1-9 June 2006 organized by Sangeet Natak Akademi.

What I could see in this Karnad play was the subtle and poignant thematic aspect - We all live a fictitious life and for survival we all need stories.' Here the play puts the playwright virtually in the form of Sutradhar of Classical Sanskrit Theatre deeply concerned and conscious of the standard of creativity in the modern age and the age-old tradition of the art of story telling to the present day audience. To create the complex of meaning as to effect 'complex viewing', I conceived amalgamation of the primordial elements of theatre, the indigenous source material, the use of Natyadharmi representative style, mimetic stage business and the modern techniques of acting, stage craft and presentation. Here, the stress is laid upon suggestive and symbolic realism rather than succumbing to the pressures of 'realism' as known to us whereby striving to achieve a distinct language of expression, which is predominantly a language of theatre. To this effect even the Story as a character itself and Flames as functional characters playa critical role as also the setting, lighting and properties are in the mould of suggestive and symbolic nature. So far as costumes, make-up and music are concerned, I have tried to adhere with the Indian traditions.

Further, I would refrain from saying anything more than this, as I sincerely find this act of writing on one's own creation quite laborious. I firmly believe that howsoever in-depth subjective or objective analysis one delves into, the ultimate litmus test is when the play is presented upon the stage and the final verdict one receives from the audience. To say the least the aspects of 'Expression and Communication' do matter a lot than anything else. Believe me, it really does matter ¬'How well you have told your story'.

For the present performance of the play Nagamandala, I am extremely grateful to the Satur theatre student artists and alumni of Dept. of Dramatics, FPA, MSU as also Prof. (Dr.) Mahesh Champaklal, Head & Dean, FPA & Shri Harish Vyas, Co¬ordinator Satur theatre for their relentless support and co-operation.

About the Director

Born on 25th April 1968, Darshan Purohit is a B.Sc. Honors and a Postgraduate - Gold Medallist in both Indian classical dance ¬Bharatanatyam and Dramatics from the Maharaja Sayajirao University of Baroda. Having cleared UGC-NET in Performing Art-drama, he has been teaching UG & Diploma classes at Department of Dramatics, F.P.A., M.S.U. as Lecturer in dramatics for the last 6 academic years. He also carries a rich experience of research and has presented several research papers and articles at various state and national level seminars and conferences. For the last 13 years he has been connected with Gujarati and Hindi theatre, Dance & T.V. as an experimental director, actor, technical director (designer), dancer, choreographer and filmmaker. Has given nearly 350 stage performances both here and abroad. He has to his credit, work experience of 26 full ¬length and 24 one-act plays, 20 dance productions, 5 Tele-serials and 2 Tele-films. Traveled widely, he has conducted several drama and dance workshops, Lec-Dem, talks at schools, colleges, universities, corporate sectors etc.. Was also invited as a faculty at the 3rd global youth theatre workshop. He has been awarded young artist scholarship in theatre by Ministry of HRD, Govt. of India, Research scholarship by MSU, Titles of Nritya Visharad and Alankara, Sin gar Mani, Kal-ke-¬Kalakar, Outstanding young person award and Best actor awards etc.; by various esteemed organizations.

Cast

The Man : Darshan Purohit
The Flames : Payal Patel, Dipali Karve, Vaishali
Chauhan, Nirali Panchal, Margi
Kulkarni, Astha Purohit
The Story : Sarita Shinde
Rani : Namrata Pathak
Appanna & Nagappa : Vibhav Bineewali
Kurudavva : Rajat Bhatnagar
Kappanna : Chetan Dhanani
Village Elders : Vishal Thakar, Manish Rohit, Sachin
Purohit
Village Crowd : Pramod Chavan, Priyanka Prajapati,
Nilesh Panchal, Shravya, Samarthya

Credits

Set & Costume : Darshan Purohit
Set : Nilesh Panchal, Imran Shaikh, Vaibhav
Bineewale
Costume In-Chrg : Nirali Panchal, Payal Patel
Lights design : Trilok Singh
Lights : Raj Dharmendra Sinh, Imran Shaikh,
Vishal Thakkar, Manish Rohit
Music composition : Vibhas Ranade
Orchestra : N.R. Pillai, Narayan Bhanwaria, Naimesh
Dave, Dakshes Patel
Music Operation : Naimesh Dave
Make-up : Dinesh Lakdawala
Art design : Jitendra Pawar
Stage Manager : Sarita Shinde & Pramod Chavan
Production manager : Astha Purohit
Dance choreography : Darshan Purohit, Ragini Shah
Producer : Astha Purohit
Performance script : Darshan Purohit, Lalitkumar Bakshi
Design & direction : Darshan Purohit

Aa Chhokro Aej Chhe

Written by: Dhwanil Parekh

Directed by: Dhwanil Parekh

Synopsis of the Play

When the Sutradhar behaves as God, its impact on the characters and their struggle is the main theme of the play. When the Sutradhar becomes a dictator, to what extent he harms the characters is what is emphasized in the play. The Sutradhar's actions and at the same time a love story emerging is the theme of Aa Chhokro Aej Che.

Director's Note

This play is a love story, having such a complex plot that the common audience cannot easily understand it. I have used many songs and different kinds of music to make it very entertaining. I have tried to differentiate the roles of the characters in drama to that in real life with the help of a different technique of direction. In brief, the Sutradhar's happenings and at the same time a musical love story simultaneously going on makes the play experimental as well as absurd.

As a director I have tried to do my best in making this play an all time entertainer.

About the Director

Dhwanil Parekh is the young breed of Directors whose bold approach is one to" take note of. He has directed many plays which include Bullet Proof, Trigger and Chhalang.

He is a lecturer at the Dr. Babasaheb Ambedkar Open University.

Cast

Sutradhar : Parth Soni
Akash : Gaurang Kharvar
Mosam : Nirjhari Smart
Father : Akshar Chauhan
Writer : Arpan Shah
Avaj : Kalu Solanki

Credits

Lyrics : Dhwanil Parekh
Music : Jay Mahant
Singers : Jagdish Parmar
Jay Mahant
Make-up : Vijay Jardosh
Music Arrangement : Sunil
Light Arrangement : Mehul Sharma
Back Stage : Mayur Saraiya
Sagar Barot
Vivarat Parekh
Nayna Parekh
Jagdish
Kanthariya
Production : Murtuza
Railwaywala

Jabuke Chhe Jaat, Vizali Ni Vat

Written by: Rafique Pathan

Directed by: Rafique Pathan

Synopsis of the Play

It is a story about the tribal area of Gujarat. Two characters Muli - Manchi and Zakhi face a lot of problems from the men of their cast. Though they aspire for freedom they are held by the men in their custody. The men Rudo, Budhio, Dewalo and Kewal are in their wild young age. They don't mind doing anything to achieve success. Kemo who is very ambitious wins the elections and becomes an MLA due to the support of the people there. But he is selfish and does not care less for the people.

The people earn a small living by doing labour work at a construction site. Like any other village they also dream of having light in the village, education for the children and development of the village.

Can Muli-Manchi and Zakhi try to create a revolution amongst their people. Is it possible? Or can people like Rudo, Budhio, Dewalo and Kewal choose another path in their life to attain success? Is it possible.

This is today's reflection of progress and degradation in the villages of our country. The community has de¬marked a clear line between the so-called educated socialistic society and the uneducated people.

Director's Note

The story is based on the tribal area of Gujarat in the Dahod and Panchmahal district. People there are very different. There has been a lot of upsurge regarding education and women liberation. It has been a challenge to create this rural ambience on the stage especially trying to imitate their own language and lifestyle.

This reflects on the problems the adivasi clan face due to their cast. I am thankful to my friend in Dahod who has helped me tremendously to try and understand the language and the habits of the people there.

We all like freedom, faith and progress.

About the Director

Rafique Pathan is a young and dynamic actor, director and writer. A graduate in Dramatics and Diploma in Mechanical Engineering, he has for many years devoted his skills in directing plays which have won accolades allover. He has also assisted and directed films, documentaries, tele-serials and ad¬films. He has also written for Hindi, Urdu and Gujarati plays. A versatile actor, director and writer he is one of the few young artists with such a wide range of histrionics.

Cast

Kewal : Vishal Bavarva
Muli : Dharti Wagela
Sardar : Abhi Sharma
Budhiyo : Paresh Gajjar
Manchhi : Gargi Dave
Ravano : Parmeshwar
Shirsikar
Ramlo : Harshive Dave
Rudo : Chetan Daiya
Khemo : Kamal Pandya
Devlo : Sajid Tirmizi
Saral Kumar : Apal Shah
Lata : Kamini Jadhav
Vijali (Jyoti) : Baby Sarika
Jakhi : Kinjal Patel
Gulubhai : Hitesh Varma
Mehta : Aasim Khan
Valiyo : Manish Dave
Village men : Ravikaran Pandey, Akash Patel
Village woman : Purvi Dave, Geeta Soni
Dancers : Dhrunad Kamble, Vasant Panchal,
Yamini Pandya

Credits

Light : Harry Upadhyay
Music : Arjav Trivedi
Set design : Rafique Pathan
Set : Kantilal (N. Sailesh Settings)
Make-up : Manubhai Pandya
Costume : Saeek Momin
Back stage : Ravikaran Pandey, Mahesh Ghodeshwar
Pro. Design : Vishal Bavara
Dance : Apal Shah
Ast. Director : Kalpesh Thakkar

Mithyabhiman

Written by: Dalpatram

Directed by: Mahendrasinh Parmar

Synopsis of the Play

Dalpatram's play Mithyabhiman is primarily divided into eight acts. The main objective of the playwright is to satirize some of the features of contemporary social life, like making a show of religiousness, inherent weakness (limitations) of human nature. The play embodies some of the issues prevalent in the then (Gujarati) society. The Protagonist Jivaram Bhatt, suffers from night blindness. He sets out for a visit to his father-in-laws village. The main plot of the play describes how the vain Jivaram Bhatt makes constant effort to conceal his short-coming before the others, and consequent ridiculous and tragic situation in which he lends himself. Parallel to this runs the plot of a Bhavai presented by Ranglo on the stage, which is successful in heightening the tone of the play. A blend of shlokas and Bhavai sentences helps to enhance the audio-visual impact of the play.

Director's Note

Mithyabhiman is one of the early plays in the history of Gujarati literature written in 1871 A.D. By Dalpatram, a pioneer in Gujarati literature. Perhaps the first Gujarati play, where the author has explored the local theatre devices instead of drawing on western plays. The play has plenty of scope for performance. Which invitees us to explore the theatre. Gayan, Vadan, Abhinay, Nartan... In every aspect, the play has a great potential. The theme and character of this play are so popular in Gujarati, that they became the symbols of a particular situation and human nature.

About the Director

Dr. Mahendrasinh Parmar is a Reader in the Bhavnagar University. He takes deep interest in the theatre activities primarily with the aim of presentation of the plays prescribed for study in the University syllabus. He also writes plays and short stories. For four consecutive years since 2002, his stories have found their place in various collections of "The Best Short Stories" of the year. As a young and promising creative writer, he has made tours to Assam and Goa. He has produced 35 shows of public reading of literary works under the title "Vachikam". His original contribution to dramatic literature so far is, one play and five short plays, all of which have won prizes in various competitions.

Cast

Dalpatram : Raghav Makvana
Sutradhar : Ashish Shukla
Ranglo : Dikpal Jadeja
Jivaram : Kavit Pandya
Bijal / Jamadar : Dilip Rathod
Rajhunath : Vipul Purohit
Somnath : Shailesh Rathod
Devbai : Smita Raval
Ganga : Bindia Bhathi
Jamna : Annapurna Vakani
Police : Bhagvan Mer, Varis Bhatta
Pancho : Banesang Dodia
Patikshep : Deepak Pandya, Kaushal Bhatt

Credits

Vocal : Sharad Joshi
Kalapi Pathak
Tarun Prabtani
Nitin Bhingradia
Jignasa Trivedi
Music : Sharad Joshi
Lights : Harry
Stage : Pujan Vaisnav