Duration: 2 hours 10 Mins (With Interval)

Playwright: Adapted from Munshi Premchand's stories

Directors: Mithilesh Maihar, Santosh Tiwari, Kapil Sharma

Cast: Keya Bhatt, Ashwini Date, Mithilesh Maihar, Vijay Kumar, Anamika Naidu, Preeti Nambiar, Deep, Ajeet, Ashwini, Manali, Rajiv, Arif, Neha, Jaishankar Tripathi, Santosh Tiwari, Hanif Patni, Amit, Deep, Abhishek Narayan, Kajli Sharma, Riyaa Deepsi, Rajiv Singh, Subham Kedia, Ankur Parekh, Akbar Khan, Kapil Sharma, Manav Pande, Jignesh, Ambuj

Theatre Group: Ekjute

Language: Hindi

 

Adapted from renowned Hindi writer, Munshi Premchand’s short-stories, “Munshiji  ki Gudgudiyaan”, premiered at Ekjute’s 30 anniversary celebrations last week.  Among the dramatised stories, were “Moteram Vaidak Shastri” – the progression of a malicious academic who turns into a quack ‘vaid’; “Naya Vivah”- a comical tale of the repercussions of marriage that defies social convention, “Bade Bhaisahab” – a story of sibling rivalry and love; and “Deeksha” –the misadventures of a man coping with his addiction and abstinence from alcohol.

 

Ekjute’s presentation of Premchand’s stories was vivacious and colourful. The landscapes were richly set-up and the bright costumes, lighting and stage work, made the acts a treat to the eye. As is often the case with ensemble texts though; some of the pieces were far better adapted and presented than the others, namely “Moteram Vaidak Shastri” and “Bade Bhaisahab”. “Naya Vivah” by contrast, had a lagging pace; and “Deeksha” was somewhat stretchy. 

 

Same goes for the performances. The praiseworthy ones came from, Vijay Kumar (Moteram Shastri), Jaishankar Tripathi (Bade Bhaisahab), Santosh Tiwari (Chote Bhai, Lala Dangamal) and  Abhishek Narayan (Dukhiya).

 

Santosh Tiwari’s direction of “Bade Bhaisahab” deserves a mention. Not only was stage-space beautifully utilized, there was ample movement and activity throughout to liven-up a narrative which could otherwise have been quite slow. The charming sutradhars, Rajjo (Keya Bhatt) and Kajjo (Ashwini Date), too, roped in the audience with their titbits about Munshiji . 

 

The audience enjoyed Premchand’s humour that rippled throughout the play. The same cannot be said however for his use of irony. Except for “Bade Bhaisahab”, the irony seems to have been lost in adapting the texts. What comes across is mere elemental story. In “Naya Vivah”, especially, the attraction between aged Lala Dangamal’s young second wife and her domestic help Jugal, is neither subtle nor nuanced, only superficial. This piece and “Deeksha” both demand crisper editing and re-arranging.

 

While ‘Munshiji ki Gudgudiyaan” is a fairly enjoyable rendition of Munshiji’s stories, it leaves you, unlike his work, with little or nothing to carry back with you.