It is not unusual for actors, directors and groups in Mumbai to be attending multiple rehearsals simultaneously. This relatively new phenomenon is a positive sign. The more plays in rehearsals, the better the health of the theatre scenario of the city.
I too have had my fair share of “multiple rehearsals”. Six months ago, our group was staging three plays relatively close together. So I would rehearse Khatijabai of Karmali Terrace in the morning, So Many Socks in the afternoon and Nostalgia Brand Chewing Gum in the evening. However all three plays had already been mounted before, so in essence it was just a re-rehearsal or a re-acquaintance with the play for the entire company.
This week, though, I found myself in a slightly more challenging position. I am directing a new play called A Peasant of El Salvador. When building a show, rehearsals are more about “exploring and discovering” rather than “remounting”. Most of the time when building a new production that is the only thing I work on.
To the exclusion of everything else, including social visits, family events, etc. This time, however, I am also re-rehearsing another play, Project S.t.r.i.p., whose last performance was over two years ago.
Both plays are similar in theme. In fact I found Peasant of El Salvador four years ago, while researching Project S.t.r.i.p. Both pieces are about the denial of rights to people, in pursuit of a “greater good”; though one is told from the point of view of the aggrieved and the other from the perspective of the aggressor.
In form and structure, however, both plays are vastly different. Peasant… is a tale told by three story-tellers who sometimes dramatise it, and sometimes simply narrate the events that surrounded this one humble man living in Central American in the 1970s. S.t.r.i.p., by contrast, is a fast paced witty satire about corporate politics, greed, and the absurdity of decision making.
One is simple in presentation, with a handful of props and a simple set; the other, a mammoth production with multiple costume changes, a dynamic set, and a backstage crew of six!
So for the first time in my life, I find myself in a strange and often difficult situation as a director. How do I shut off one play while working on the other?
On paper, the task seemed simple. 9 am to 4 pm rehearse one play; and 4 pm to 10 pm rehearse the other. But time allocation is the least of the problems.
The real issue is that when exploring a new piece of work, you need the “down time” to imagine and play. Simultaneous rehearsals don’t give you that luxury. The dynamic of each group of actors is very different, and the way in which you deal with casts also has to change. It also means that full concentration is required at all times, since all the elements have to be kept in mind — actors, set, costumes, props, music, sound-scape, etc. This can be mentally quite exhausting.
It’s been a tough week, a new week, a new challenge. In a strange way, it is also the reason why I gave up a corporate job for a life in the arts — because each week is completely different.
The weeks of rehearsal now turn into five performances at Prithvi theatre starting tonight. Project S.t.r.i.p . today and tomorrow, and A Peasant of El Salvador premiering on Sunday at 6 pm and 9 pm.
In the end, that’s really what it’s all about — sharing the work with the audience, making all the effort, appear effortless.