Sunil Shanbag is one of the most serious stage directors of the contemporary Indian theatre scene. His works seen at different Bharat Rang Mahotsav editions in Delhi are remarkable for their stark realism, exposing vital social contradictions and for their innovative treatment of the theatrical art. Among his most memorable works is “Cotton 56, Polyster 84” which depicts the plight of Mumbai’s textile workers, exposing the nefarious nexus between the mafia and politicians in power, rendering millions of workers jobless.
His other production entitled “Sex, Morality and Censorship” exposes the irrationality of the feudal mindset that debunks and censors works of art. Exposing the outdated concept of morality, the production recreates scenes mostly from Vijay Tendulkar's “Sakharam Binder”.
Shanbag’s latest offering, “Club Desire”, was presented in New Delhi by Arpana/National Centre for the Performing Arts, Mumbai, at the recently concluded Bharat Rang Mahotsav-2015. It is a dramatically fierce confrontation between basic human instincts of love, passion and jealously, culminating in tragedy. As the shatteringly moving drama unfolds on stage, the sharp polemics on the issue of gender discourse come to the fore.
Innovatively directed, brilliantly orchestrated and passionately performed, the play is written by Sapan Saran who is inspired by the French opera “Carmen” which was first performed in Paris in 1875. Described as one of the most popular Western operas of all time, it was based on the 1885 novella by Proposer Merimee. Over the years, a number of stage and screen adaptations of the opera have been produced.
Sapan’s adaptation in English is set in an Indian nightclub with a powerful orchestra and a talented and vivacious singer. The characters are rooted in an urbanised Indian society. The situations and characters have Indian colour and sensibility. There are two main characters –Jayam, an intellectual and a sensitive, creative person, and Chahat, endowed with great skill in singing and acting. She is the heroine of the club who has the power to mesmerise the audience. Infatuated by Chahat, Jayam falls passionately in love with her and she too responds with equal warmth. Young Jayam becomes possessive of her to the point of madness.
Through the series of passionate encounters charged with intense emotions of love, hate, passion and despair, the social background of the dramatis personae and their diametrically opposite world-outlook come to the fore.
Jayam is attached to his ailing and aged mother who lives in a different town. He is constantly in touch with her through his mobile phone, occasionally visiting her. To Chahat this kind of family bond is anathema. She is a totally liberated women who loves her freedom and lives on her own terms.
The arrival of DJ Abeer, a successful practitioner of electronic dance music, in the nightclub sets further complications afoot, forming a love triangle. Chahat is professionally fascinated by Abeer and gradually attracted towards him. Jayam becomes furious to see Abeer and his interaction with Chahat.
He gets into a physical fight with Abeer. On another occasion he indulges in a hot discussion with the producer and both create a violent scene. He is severely warned not to enter the club but he keeps visiting to meet Chahat, often getting thrashed by the producer.
The narrative has a sub-plot which deals with the interactions of Jayam and a budding novelist who wants Jayam to translate his novel from Hindi into English. The sub-plot reinforces the most retrograde outlook of Jayam and his sense of jealousy and overpowering desire to possess Chahat.
One of the fierce confrontations between Jayam and Chahat is the one where she tells him that she has aborted her pregnancy. Jayam becomes mad with rage over Chahat’s taking the decision without telling him anything about it. Chahat asserts her freedom to take any decision. It all culminates in tragedy.
Juhie Gupta has designed the set imaginatively. There are three main locations where the action takes place. The impressive orchestra and players are set upstage. The space for Jayam’s residence where he meets Chahat is set down stage right. Chahat’s action area is down stage in the centre. This kind of staging contributes to make the flow of action seamless. The characters move from one locale to another without any obstructions, their movement marked by fluidity. The dramatic action is interspersed with songs set to a thrilling score, which makes the characters tangled and bitter relations emotionally vivid.
Jaimini Pathak in the role of Jayam invests his portrayal with a great deal of emotional power. His unguarded passions, infatuations and blind jealousy mark the gradual decline of Jayam from a sensitive poet and scholar to a despised figure and finally a murderer. Palomi Ghosh as Chahat gives an outstanding performance as a singer and actress, displaying intense vitality and her inner conviction about her feminist views. Suhaas Ahuja as DJ Abeer creates a lively portrait of an artist who is in love with his art and capable of defending his honour.
