A packed parking lot at Shilpakala Vedika, Madhapur was testimony to the anticipation over the presence of Paresh Rawal in the play ‘Dear Feather’ presented by Mitr Foundation last weekend. Theatre-enthusiasts across the city turned up in impressive numbers to see the play that had been staged to rave reviews across the country over the years.
Written by Vivek Bede and directed by Dinkar Jani, ‘Dear Father’ is a witty take on the generational divide that Manubhai, a man in his 60s, keeps experiencing with his advocate-son Ajay and daughter-in-law Alka. Switching between the past and present, the narrative commences with a police inspector Abhyankar dropping by at Ajay’s home, much to the latter’s shock. Manubhai, meanwhile, undergoes treatment in the hospital after a bad fall from the balcony of his apartment. Abhyankar, suspecting foul play in Manubhai’s incident consistently interrogates Alka and Ajay. He throws angles of a suicide and a murder attempt, sending Ajay and Alka into a panic.
Although a series of incidents gives the proceedings, a detective thriller turn, you can see through that the tale at its heart is about longing, generation gaps and relationships.
‘Dear Father’ heavily relies on its cast and humorous dialogues, rather than its script, to deliver the goods. There’s a dated treatment in the characterisation of Manubhai, who keeps whining about technology-overpowering-relationships, the spending habits of the younger generation besides, his extensive conversations over the phone as well as with other senior citizens in the apartment complex.
Here’s a tale of a man who isn’t ageing with grace. Yet the younger generation is antagonised to weave in some sympathy for him. In most incidents surrounding generation-conflicts, you’d have wished the writer underplayed the generation-divide with grace and had given adequate space to the shortcomings of both age-groups.
Situational humour, then, is its primary USP. Manubhai for instance calls up numbers of people mentioned in the obituary column in newspapers, to convey his condolences. Then there is a panchayat-like session at home where he comes up with a wacky list of 43 complaints. The wave of tension the cop brings into the home works as a fine opportunity to ensure dark humour.
Manubhai, as expected, is the most joyous character in the play. The writers do a good job in the thread on elders-turning-kids with their quirks in the older ages. The son’s coming-of-age appears rather sudden.
There’s a political tinge in the play you’d wished was avoided. Give credit to Paresh Rawal’s magnetic screen presence and able support from Mrinmayee Godble and Chetan Dhanani in letting you forget the play’s major follies including its somewhat tedious length.
