My Tryst With Juvenile Dramatics

June 27, 2018

I have always had a low grade resentment towards children’s theatre, and had expressed this resentment back in the early days of this blog. Back then, I had cited three unpleasant run-ins with the activity. Those wounds have healed somewhat, but my suspicion of the theatre remains.

These days, my main problem with children’s theatre is the claim its practitioners make – that it is a cure for shyness. My reaction to this claim is very much like the reaction of the X-Men to the ‘mutant cure’ – rage and insistence that there is nothing to cure. Shyness, I tell everybody who will listen, is a personality trait and not a disease. It can often be a very useful personality trait, in that it rescues you from prolonged interaction with other people, who can often teach you stupid things that it will take a long time to unlearn. This is all the more poignant considering that shyness isn’t even ┬ácommunicable. Even if you’re not shy yourself, you don’t risk catching it from a shy person. So why not just let them be?

Recently I remembered that I had forgotten to write about my first ever, probably formative, encounter with juvenile dramatics. I may as well tell the story now.

The story dates back to either Class 5 or Class 6 – more likely Class 5, so sometime between April 1992 and October 1993. My aunt Gugloo1 Masi had arrived from the United States (or possibly France) and was in Delhi visiting her parents, in-laws, cousins (which included my mother), and friends (which included either Lushin or Lilette Dubey – possibly both, as she had been to school or college with one of the Dubey sisters). Anyway, as things turned out, Gugloo Masi was at the home of whichever of the sisters was her friend – probably Lushin – and invited my mother to come over and meet her there. Ma in turn took me along. Once we were there, the three ladies became engrossed in conversation. I became engrossed in the bookshelf.

The bookshelf was magnificent. It stretched from floor to ceiling, and my nine or ten year old self could only examine the upper shelves by dragging a chair from the writing table to the shelf and then clambering on top. It had what looked like the collected works of Agatha Christie, whom I had started reading in the summer of 1991. If I remember right, the Harper Collins paperbacks in those days were priced between Rs 75 and Rs 125; and seeing the collected works, as it were, in the wild, free for the picking, was a powerful stimulus to my soul. I gazed at the bookshelf in rapture. Conversation from the sitting room, some of it to do with the benefits of theatre in curing shyness, drifted through, but I paid it no heed.

Alas, my plans of communing with Agatha Christie were scuppered by Ma, who yelled at me for climbing on people’s chairs without their leave, and we eventually left, though in the intervening period Lushin Dubey said I was welcome to visit the bookshelf again.

Some weeks later, Ma informed me on a Sunday morning that an opportunity to visit said bookshelf had come up, and I excitedly accompanied her to the Dubey house. It was only once I got there that I realised that I was the victim of treachery. True, the bookshelf was still there, and it was still full of Agatha Christies. But my path to it was blocked by about eighty children who were there to audition for Peter Pan – or possibly The Jungle Book – and to my horror, I found that I was expected to do the same.

I was taken in hand by a girl, one or two years older, who explained what I had to do in the audition. I would play a young child, she would play my older sister, and a third person would play a drug dealer. The drug dealer would offer me a sweet, I would accept, my sister would see me taking unidentified substances from a stranger, and rush over to a) make sure I didn’t swallow them b) warn me about the danger of taking things from strangers c) warn me about the danger of drugs. She asked me if I had got all that. I said I had. So she kicked off the audition.

Things started smoothly. The drug dealer did indeed ask me if I wanted a sweet. So far, so good. But at this point, reasoning that I already knew about the dangers of drugs and strangers thanks both to the initial briefing and in general being a well read and informed person, I might as well come to the same conclusion as the script with far less tedious exposition. So the audition went more like this:

Drug Dealer: Do you want a toffee?
Aadisht: no.
Drug Dealer (unprepared for this): what?
Sister (rushing up): Don’t take that toffee from him!
Aadisht: I didn’t.
Sister: what?
Aadisht: I don’t take things from strangers.
Sister and Drug Dealer: …

At this point the actress playing the role of the sister suggested that I wait on the staircase, which I did until Ma came to take me away.

As things turned out, I did not get the part, and my habit of skipping to the end when I already knew the answer meant that I spent the next five years having marks cut in maths and physics exams for not showing all the steps. But most importantly, I never got to read the promised Agatha Christies. Very possibly my lingering resentment towards juvenile dramatics has its origins there.

Pro Bono Publicity

January 7, 2007

This is the good news: Evam, the Merry Players of Madras (who also earn merit in this life and the next by being Sista’s juniors) have launched online ticketing for their shows.

The even better news is that they shall be coming to Bangalore in February to put on Love Letters and The Odd Couple at Ranga Shankara.

By the way, the online ticketing is applicable for Bangalore as well as Chennai. It also does not require a credit card. You just block tickets, present the password they send you at the box office, pay in cash and collect your tickets. Personally, I would have liked a credit-card option but you can’t always get what you want, as the Rolling Stones so wisely said.

Chapter Two

March 30, 2006

I just returned from Ranga Shankara, where I saw Evam, the theatre group from Chennai, performing Chapter Two by Neil Simon. At the end of the performance, they asked us to spread the word if we liked the performance. I did like the performance, so here I am spreading the word.

The play is very good, and in my admittedly very amateur opinion, so was the acting. Especially the performance of the female lead, Andrea Jeremiah. It’ll run at Ranga Shankara until Sunday, so if you’re in Bangalore and free between seven and half past ten, do watch it. Tickets are available at Landmark and Ranga Shankara.