Manoj Shah, the Man of Theatre

Performing arts defines titles conjuring images of the theatre; of performances, live entertainment, teaching history and one of the oldest types of human interaction. Confusing isn’t it?

This is exactly what Manoj Shah says when he talks about theatrical criticism. Lazing in the lounge of the Sports Club, post lunch one listened to Manoj talk about “his theatre”.
A celebration of stories, a gathering of people, the telling of folk tales coupled with the elements of music and dance that is the magic called theatre, the world that Manoj Shah is a part of. Manoj seem brimming with ideas breaking new territories and barriers and like a court jester enjoying himself completely in the process. Small wonder his company is called “Ideas Unlimited”, whose frontiers go beyond infinity. And as Manoj says any and everything is theater and aren’t we all actors. In spite of the advent of cinema and the two dimensional moving image, the stage still retains its fascinating charm, its personalized relationship between actors and audience and commands a loyal following. In fact as time goes by, more and more barriers are crossed over by performers and audience alike in their constant search for communicative growth and fulfillment.

These descriptive elements bring as to an interestingly enigmatic Mr Manoj Shah.. Stage extra, actor, instigator, amalgamator, visualizer and director, he has traveled through it all. Delving into the history of theatre as an art form, an exciting experiment bore fruit albeit years in gestation. A kurta half size small, salt and pepper beard and hair, eyes peaking through glasses and suffusing the entire space around him with a smile. Manoj is always so happy to see people and he radiates that mischievous sense of adventure that dares you to walk the plays with him.

Manoj was in Ahmedabad with three of his productions, Master Phulmani, Mareez, Apurva Avasar. All varied, different and full of energy mirroring the director passion for the medium. Manoj Shah picks his stories painstakingly works on them, decides on who is going to play a role be it an actor or the art director. Over another cup of coffee we discussed the making of Master Phulmani, and Manoj Shah stretched back in time to remind me of a common friend who unfortunately is no more yet has been and will always remain an integral part of the play. We toasted coffee as we remembered Bhupen Khakhar, the painter poet, writer and friend.

Gujarat has been home and has nurtured many a creative personality. Artist Bhupen Khakhar’s name is enshrined in the annals of contemporary Indian Art. He played a very important role in building up the narrative figurative movement in this country. I remember having numerous arguments with this dear soft spoken friend over cups of chai outside the CEPT canteen. While hearing Manoj talk about his work with Bhupen one felt that it wasn’t just two friends or personalities coming together but two different mediums trying to form a common understanding and making magic!

A chance encounter of Manoj Shah at a writers workshop with Bhupen Khakkar, the painter began a relationship culminating in the two attempting to work together, to understand each others medium, bring about a synthesis with due respect to both the art forms and eventually palatable to the audiences. The seeds of those series of conversations germinated into a full scale Gujarati stage production, “Master Phulmani”. Bhupen and Manoj created a platform where two mediums; painting and theatre came together exerting their influence on each other. Ideas were bantered upon and Bhupen was triggered and excited to paint a series of paintings which would in turn change the way the director choreographed. The process was long and convoluted; Bhupen would come and sit in on the rehearsals, asking questions, making sketches and quietly observing. Thus the interaction snaked along, Manoj would painstakingly explain the scenes, discuss the music and the characters. Bhupen in turn would make a series of sketches to illustrate his vision. Due to the difference in mediums, Manoj could not fathom Bhupens final piece from just looking at sketches to illustrate his vision. But a rapport had been established and the contorted road to creative intersection continued.

The day dawned when Bhupen unveiled his vision of Master Phulmani. The result was amazing to say the least. For the first time in Manoj’s theatre career the artists backdrop began to determine the demarcation within which the actors could perform. Bhupen Khakkars backdrop painting created changes in the way the director Manoj Shah envisaged the play and its movements on stage. The equations fell into place. This synthesis was the final cuisine of centuries of folk tradition and modern theatre culminating in the celebration of two mediums, each exerting their influence on the other generating changes as visual imagery bounced back and forth. Manoj had to unravel a lot that had been already worked on and refit it together in order to justify the influence Bhupens work was casting on the play.

But the resultant effect was brilliant as each medium enhanced the other and Master Phulmani was finally unveiled to an audience which to say the least freaked!

Thus a bond was established between artist and director and Gujarati theatre was enriched by that experiment. The bantering jugalbandi between artist and director took the better part of a decade and it changed forever the way Manoj Shah, the director tackled his medium as the parameters of acting were now demarcated within and by the boundaries set by the painter. And what of the painter? The actors and their ode of expressions had an insidiously profound effect on Bhupen Khakhars later series on ordinary people which now seemed to have stories to tell which went beyond the restrictions of the canvas frames.

After the success of Master Phulmani so enamored was Manoj by Bhupen’s work that when he staged Mareez, Manoj invited the artist Ghulam Shiekh to conceive the sets. The plastic cup of coffee was over and Manoj had already started fidgeting to get his actors up for rehearsals as they had a play to perform and stories to tell. Before wishing each other adieu I asked Manoj about the future, with a twinkle in eye he said it had to do with William Kotzwinkles, Dr Rat and Atul Dodiya the painter. We promised to track them both down the next time we had coffee together!
Published: Ahmedabad Mirror