Love in ‘forbidden’ quarters
Apart from having its heart in the right place, Javeda takes on binaries and fittingly pits a conflicted Mumbai of 1992, against compassion
We rarely expect a broken arm to keep pace with the rest of a functional body. But, a broken heart must work as part of the whole. Love, in its capacity of latching on to and letting go, has been written about at length. And yet, the gamut of feelings it encompasses is hardly ever dated. The play Javeda, catches your eye in this vast expanse of grey. Written and directed by Navaldeep Singh, this piece has been set in 1992-93 (a period of ill-repute for the distressing Hindu-Muslim riots). Apart from having its heart in the right place, the play also takes on binaries and what could have fit in more naturally than pitting conflict against compassion.
The story begins in a strife-torn city, where a man has been looking for a tenant. Just in time, he comes across another young man looking for accommodation. “Back in the day, renting a place wasn’t as difficult as it is now. Unlike today, one was not judged based on food choices, community and religion,” shares Navaldeep. Then, the riots start and all that was otherwise routine, come into question. Mistrust germinates between the two characters and the landlord asks the tenant to leave, the writer narrates. The viewers, at this point, realise that these two men have fallen for each other and caution exists alongside care. Amaan, the house owner, wants Imaan to vacate so that the latter is safe. However, the plot doesn’t leave us in the agony of longing; Amaan and Imaan meet again but, in other daunting circumstances.
The musical renditions linger on even after the play ends. Ask him about the conscious incorporation of Sufi music and Navaldeep explains, “There are references from Bulleh Shah and Baba Farid’s body of work. Sufi verses can brilliantly celebrate love while addressing the Almighty. We thought it could help viewers question perceived notions about gender, sexuality and adoration.”
Ahan Nirban, who plays Imaan, says theatre acting is very different from “what we do in front of the camera”. The spontaneous reactions of the audience — their laughter, exasperation and overall engagement — make him hungry for more. He adds, “Ek kirdaar hum mein bhi dal gaya hai/ Ishq ab rangmanch mein badal gaya hai (Ever since I started loving my character/the stage has loved me back too).” He concludes saying he felt responsible to have been cast in this plot. “I feel responsible on behalf of a society that still categorises love. I do not see how any love, between consenting adults, is different.”
ht.cafe@htlive.com
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