He picks up socially relevant issues that need to be highlighted for his plays, and lends solutions to the same. Only, he manages to engage and entertain at the same time. SAS Nagar-based actor, writer and theatre director Sahib Singh, who has already penned 30 plays, directed about 60 of them and acted in 125, is now ready to enter the Punjabi film industry.
As Chandigarh gets a heavy dose of theatre mid-week, Singh gets talking about a few interesting aspects of his life at a press conference — held to celebrate his win as the best actor by Punjabi Academy, Delhi — at Punjab ala Bhawan, Sector 16, on Tuesday.
Starting off with his plays, Singh says, “The reason I called for a celebration with the media was because in the past one year, five of my plays that were written back in 1995 — Ravaitan Ton Par, Khamban Di Talaash, Paramveer Chakra, Amar Kathayian and Mere Do Natak — have been translated into books, and have been published by Deepak Publishers, Jalandhar. I wanted my plays to be available in a documented form so that they can be a part of academic syllabi for colleges.”
Singh, who also recently staged his play Yudh Ate Budh, which is based on the current scenario in Jammu and Kashmir, is going to be seen in Punjabi film O.G.J, essaying the role of a minister, nods he, “In this film, which is releasing on March 8, I play a minister who believes heis the master of literature and keeps experimenting with English. He ends up using some words inappropriately, and my character turns comical!”
Singh will also be seen in another Punjabi film titled Rang Root. “In Rang Root, set for an August-15 release, I play the character of a DSP who is in charge of cadet training. In this film too, my character is mainly comic in nature,” shares Singh.
Besides acting, Singh is also working on five scripts for Punjabi films, shares he, “I am currently working on five scripts and will finish one in the next few months. The film should go on floors by December. But, like my plays, my films too shall be on socially relevant subjects. If one story is a pure love story, unlike the cheap romances of the day, another one is a hard-hitting film on our social and the political systems. I am also penning a story that juxtaposes the traditional and modern culture of Punjab.”
Unhappy about some recent stories being explored by Punjabi film directors, Singh says, “I think present day Punjabi films are misguiding the youth and promoting vulgarity. And I am taking upon myself to make a Punjabi film that can help channelise youngsters’ energy in the right direction.”