It took me a moment before I realized that the two witty kids I was walking the late night streets of Boston with were the infamous BROWNSTAR duo. They had come to the Boston Sepia Mutiny meetup last month, and afterwards we went on a hunt for DJ Kayper. They were hilarious, and I had heard about them through the spoken word grapevine. The BROWNSTAR REVOLUTION duo is a two member poetry/theatre/performance duo, consisting of the NORTHSTAR (Pushkar Sharma) and SOUTHSTAR (Sathya Sridharan). Started in 2007, this duo has been hitting up open mics, college stages, and poetry lounges sharing their words with anyone that will listen. There performances can’t be categorized, but has all the potential to revolutionize.

BrownStar Revolution - “Unification” (August 2009) from Jon Truei on Vimeo.

I knew I had to bring the BROWNSTAR to the Mutiny. I had the chance to hit up Sathya and Pushkar in a gchat interview to ask them some questions about the BROWNSTAR REVOLUTION. Here’s what they said.

Taz: For those of those of the mutiny who may not know, who exactly is BROWNSTAR?

Pushkar: We’re a performance poetry duo, two-man spoken-word show.

Sathya: We’re more than just that though. We’re theatre; we’re comedy; we’re poetry. We like to throw everything into the pot and create something that isn’t always seen on stage.

Taz: How did you get your start? Did you start doing poetry first? Or performance first?

Sathya: I’ve been performing and writing in some way all my life, mostly being a clown for my family, or friends. I was a Drama and Eng Lit major in college, where Pushkar and I met. He directed me in my first show in college. I’m pursuing acting as well as this whole Brownstar thing. Ideally, I like to think of myself as an actor who likes to write poetry on the side.

What the people want, the people get!

(Sorry, Joolz, not Keegan Singh.)

Due to popular demand I’ve got three more segments of the MTV Iggy interview with Naseeruddin Shah. Looking back, I can’t believe we asked some of these questions. He continued to be gracious, thoughtful, and startlingly candid:

What’s the difference between theater and film? Legendary Indian actor Naseeruddin Shah explains to us why the two should be starkly delineated. “I can’t understand why they remake movies as plays — and then do them exactly like movies!” he says, referring those well-known Broadway plays in which helicopters crash and ships sink onstage. With his theatrical company, Motley, Naseeruddin is bringing back the lost art of Dastangoi, the ancient practice of storytelling in which the end of one story leads to the beginning of the next — bringing theater back to its original intent: one actor, one audience:

If you are in Los Angeles and looking for something to do this weekend, might I suggest getting caught in Carrie’s Web.

Written and performed by Shyamala Moorty [of Post Natyam Collective], directed by D’Lo with video by Sangita Shresthova. Carrie, a body-conscious, high heel-loving spider is spinning out new moves when she inadvertently snares a young human woman who’s dealing with a terrible family secret. A fantastical web of entanglement is woven with classical and contemporary Indian dance and theater.[indiacurrents]

I had the chance to check out the play a few weeks ago and was mesmerized by how a one person play was able to interweave issues of South Asian culture, sexuality, domestic violence and dance expression so eloquently. To develop her script, Shyamala worked closely with the local domestic violence group NISWA. At the show I attended, several young South Asian teen girls from NISWA that Shyamala had worked with on her script were in the audience.

In 1991, NISWA opened a “helpline” to provide counseling support and resource referrals…In addition, NISWA established a shelter for Muslim battered women in 1996. Since then, the shelter has housed many women and their children, providing them with counseling, and job placement.[niswa]

I first met Marian Yalini Thambynayagam, aka the performer/poet/dancer YaliniDream, when I moved to New York three years ago. I was hunting for a profile subject for my Arts & Culture journalism seminar, and wanted to write about a Sri Lankan artist. A friend directed me to one of Marian’s collaborators. I headed to a performance, thinking: wow, I live in a town where there are Sri Lankan/diasporic artists!

The performance was cool—and funny, and dark, and raw, touching upon issues related to the conflict in Sri Lanka. The combination of dance, music (particularly the exquisite, keening cello of Varuni Tiruchelvam), spoken word/poetry and visuals was deeply transporting and complex. Foolishly, I hadn’t expected a show—any show, really—to pull such an intense reaction from me. I left the show almost (okay, who am I kidding, actually) in tears at the power of what the performers had done, and their sheer bravery. (After all, I chose a profession where I spend most of my time alone in a room with a computer.)

While the blogosphere is a poor substitute for live performance (sorry, Internet, it’s true), here are some snippets.

Momma’s Hip Hop Kitchen Vol. II: YaliniDream from Jennifer Hobdy on Vimeo.

This work seems newly relevant now, and Marian has a slew of performances coming up——New Yorkers can check her out this weekend (including tonight, in the Bronx), and on other upcoming dates (see website). (Keep reading for an audio clip with the cello.)

For those of you who are still looking for something interesting to read this summer, I’d like to call your attention to a fantastic new collection, Beyond Bollywood and Broadway: Plays from the South Asian Diaspora. I learned about this collection after having the editor, Neilesh Bose, as my colleague in Colorado this past year. (You should know that although he’s not that much younger than me, Neilesh has distinguished himself as being the only person Stateside who calls me Nilanjana didi to my face, which is mildly annoying but also endearing.) Neilesh bhai moonlights as a modern South Asian historian focusing on Bengali Muslims from the 1920s through Partition, and leaving his elder "sister" behind in the alpine desert, he’ll be joining the history department at the University of North Texas next fall.

Beyond Bollywood and Broadway: Plays from the South Asian Diaspora will be officially launched August 10-11 at the Martin E. Segal Theatre Center (CUNY) in New York with many of the playwrights in attendance, so do save that date if you’re in the city.

The collection includes three plays from the United States, two from Canada, three from the United Kingdom, and three from South Africa. Even if I hadn’t met Neilesh this year, I would consider the collection a must-read for those of us who groan at the news of yet another novel evoking the heady scent of mangos. The plays from the United States include a seering sendup of two desi academics (identity politics, the postcolonial condition, etc.) in Anuvab Pal’s Chaos Theory and an adaptation of Shakespeare’s The Merchant of Venice set in 21st-century SoCal by Shishir Kurup. The other plays cover broad territory including the Bhopal disaster, absurdist theater, the hypothetical meeting of epic heroes Odysseus and Ram, domestic violence, Gujarati British youth culture, South African apartheid, and Indo-African relations. The plays are divided into sections by country, and for each country, Neilesh provides a detailed (but very readable) introduction to the historical, social, and cultural factors that distinguish South Asian migration and settlement there. There are also helpful comments on the development and role of theater in each setting. I’m always suspicious whenever people start talking about the South Asian diaspora as something that can be lumped together in a coherent whole, so I particularly appreciated these introductions. At the same time, there are recurring themes across these different diasporic locations, and these introductions direct our attention to them.

What I was however most eager to read at the outset was Aasif Mandvi’s play, Sakina’s Restaurant. (Yes, that Aasif Mandvi, the brown guy on the Daily Show).

Behold, the trailer for “The Love Guru” (tagline: His karma is huge). I have mixed feelings, because I really lurve Mike Myers; I quote something from Goldmember almost daily. But, as familiar and fun as the shrimp/gnome scene in this trailer is (“Moleee Moleee Moooole”, anyone?) seeing Myers travel around on a pillow, flying carpet-ishtyle made me want to smack someone.

Plot nugget below:

Pitka (Mike Myers) is an American raised by gurus who returns to the USA in order to break into the self-help business. His first challenge: To settle the romantic troubles and subsequent professional skid of star Toronto Maple Leafs hockey player Darren Roanoke (Romany Malco) whose wife Prudence (Meagan Good) left him for rival skater Jacques Grande (Justin Timberlake). [wiki]

We should totally do a meetup on June 20th, so we can shriek about what offended us, afterwards. ;)

p.s. Thank you to lion and astrosmurf, for the tip!

Straight Outta Compton my inbox, an invitation to the first Subcontinental Drift of 2008. This event/collective is one of my favorite things about living in DC. Come find out why for yourself:

2007 sure brought some of the district’s talents out of the basement and into the spotlight. It was nothing less than inspiring to witness the expressive potential of our collective South Asian community.

Subcontinental Drift is excited to be back with the first open mic night of 2008 on Monday, January 28th at 7pm. Come bless us in this new year with your art, your thoughts, your ideas, your presence. The mic will be open from 7-9 pm (to sign up for a spot, shoot an email with your name and performance genre to subdriftdc@gmail.com). And stay for the after party with some chill beats and groovin’.

Where?

Bohemian Caverns, at the corner of 11th and U. We’ll be upstairs. www.bohemiancaverns.com

When?

Doors open at 6:30pm.

More info?

myspace.com/subcontinentaldrift or email subdriftdc@gmail.com

I never go out on Mondays or Tuesdays because those are my most challenging (read: no lunch) days at work, but I’m about to do some serious juggling in order to attend this— THAT’S how amazing Subcontinental Drift is. It is worth the stress and exhaustion. ;) If you are in DC, please come out so that you, too, can babble beatifically about all the awesomeness. And if you are not in DC, remember that it is a new year; resolve to start something similar where you are. Abhi did it fabulously in Houston, so can you. Everyone deserves to drift.

Unlike many of you lucky bastards mutineers, I am at work today, so this might be one of the most compendious posts I will ever write (stop applauding, haterz).

For the last week or so, I kept hearing variations on “I can’t believe the year is almost over!”. I was feeling that way myself until I started to pore through our archives. Now I feel like this has been a very long year, one which lasted at least 365 days.

Can you even conceive of a time before Sanjaya? Believe it or not, there was, way back in the beginning of 2007.

Let that sink in.

NOW doesn’t it feel like January 17th—the last day that the mutiny was papaya-free— was a long time ago? Speaking of Sanjaya, he’s on the list. What list? The list I made of interesting, notable or significant posts from this year.

Without further contradiction of my use of the word “compendious”, here they are, for your procrastination and pleasure:

• Obama
• Sanjaya
• Gigi
• Aish
• Gogol
• Neyyappam
• Grace

(Debargo Sanyal and Amir Arison)

Over the weekend we caught a matinee of Queens Boulevard (the musical) at a small, off-broadway theater in New York. The play has already been covered at both SAJAForum and Ultrabrown; this is my version.

The cast of Queens Boulevard has three people of South Asian descent in it, and Charles Mee, the playwright, mentions in the script that “Queens Boulevard (the musical) was inspired by the Katha-Kali play The Flower of Good Fortune by Kottayan Tampuran.” The central plot of the story is partly a reworking of the Shakuntala myth, and partly a version of Homer’s The Odyssey — and sometimes both at once.

I had a number of problems with the play, but I want to start with the positives.

Is it already that time again? As if my weekend couldn’t get any better, Subcontinental Drift, DC’s singular South Asian music/dance/open mic night, is back this Sunday.

If Subcontinental Drift sounds familiar, it’s because I wrote about this rapture on SM before, here. If you live in DC, you are fortunate that your comrades in browndom have come together to create such a fantastic event; support their considerable efforts, come out and play, you’ll be thrilled you did.

This Sunday night a recently-hatched event is descending again on the district. If you’ve been before, you know it is not to be missed; if you haven’t, don’t miss it. It was born early in 2007 when a handful of the District’s desis (Mona, Munish, Nabeel, Nina, Sophie, Surabhi & Vishal) graciously took it upon themselves to fill an artistic void in our community. Thus was born Subcontinental Drift: a creative experiment in open space(s) where artists, poets, songwriters, lyricists & others can share and showcase their talents with the local South Asian/South Asian American diaspora.

Join us this weekend. Observe, absorb, listen, learn, encounter, experience, perform (really, you can - email subdriftdc@gmail.com)! Indulge. [quoted from an awesome email]

Every edition of SD is precious, but this one is more so— Seema Patel, a.k.a. SM commenter “SP”, a.k.a. one of the forces behind Team Vinay (and the heart of their DC operations) is leaving the right coast to go home. Join me, Sunday, as I gnash my teeth at our misfortune. Baltimore/D.C.’s loss is California’s gain. Sigh.

Subcontinental Drift

Sunday, September 9, 2007

6 PM - 11 PM - (Cost: Free)

Bohemian Caverns
2001 11th St. NW
Washington, D.C.

Metro: Green + Yellow- U Street station

It wasn’t just standing room only, last time— we took over the street. This event, let’s do the same. Finish your Art…there are kids starving in cities with less Desis.

If I were an intelligence analyst for a top secret government agency, I would be levelling forests writing memos that said one thing — Musharraf is in trouble now. Why is he in trouble, you ask? Because the opposition has an anthem, and it’s a catchy one.

Any good revolution needs a good song. It’s probably not enough to win; I’m sure there have been revolutions with great anthems that were flattened by the state. And it may not be necessary either, but I’ve gotta tell you, it really helps. A good song serves to rally people around. It provides a constant reminder of the cause, of the struggle. It sneakily undermines the authority of the state every time somebody hums a few bars and is overheard, and it gives courage to those who are wavering. In short, it’s a mistake to underestimate the importance of song when making a revolution. I mean this in a painfully earnest way, there are no smileys here.

The title of the song is “Why doesn’t uncle (i.e. Musharraf) take off his uniform and go home.”

Sung a cappella in Punjabi, it was recorded by religious students in the style of a Punjabi folk song, but its tongue-in-cheek refrains are popular from Karachi to Islamabad, whether its listeners are religious or speak Punjabi or not. [Link]

It’s a funny song, at least if you understand Punjabi, and it was stuck in my head all day. [Updated] The lyrics are quite interesting, and troubling in bits. Some of it calls for Musharraf to leave the Army and retire, but it’s hardly a liberal song. Not only is it pro-Islamicist and anti-American, it’s also anti-women in shorts and pro-Kashmiri separatist. That’s the problem with non-democratic countries, opposition movements often encompass a wide variety of different elements who might not otherwise have found common cause in an open society. The song picks up the sentiment on the street and brings together a variety of different anti-Musharraf feelings, all set to a catchy and easy to sing tune.

I’ve put the video below and the translated lyrics below the fold.

UPDATE: I was looking at the comments and reflecting on other examples of similar songs. The defining song for the North in the US Civil War was “John Brown’s Body” which later evolved into the Battle Hymn of the Republic. The US Civil Rights Struggle had We Shall Overcome. The anti-Apartheid struggle had Nkosi Sikelel’ iAfrika, and there is a great movie about the use of song and dance in the struggle, called Amandla. The 2002 Kenyan elections had Unbwogable (listen here).

Can you guys suggest other great strongs of struggle? And if possible, can you give links to either the music or youtube clips? I’m sure there are lots of great songs I missed.

I recently emailed five questions to Sophie, who is part of the force behind D.C.’s Subcontinental Drift.

Several Mutineers discussed SD’s last event at the most recent D.C. meetup— in fact, a few of you even performed at it! I get the feeling the rest of you would be VERY interested in what Sophie and her dynamic crew are trying to do— so I thought I’d post a wee reminder that your next chance to marinate in creative splendor is tomorrow night, June 29. But first, some essential information:

Subcontinental Drift is __?

…an effort to bring out the “basement talents of the District’s desis.” Basically, we’re trying to provide a creative space for people who are artistically-inclined (that’s a broad term and encompasses pretty much anyone from professional artists to people who like to watch other people read poetry) to connect with each other and share each other’s work.

What inspired it?

A few of us “D.C. desis” felt like there was a void in the South Asian community —in a place like D.C. where there are soooo many talented people, there wasn’t a cohesive group or space that was encouraging or nurturing that talent. The need was something that was floating around in the air, and we just grabbed it. Specifically though, the catalyst for me was when I was with Munish and Vikash at Bossa lounge in Adams Morgan and we watched Vishal Kanwar play tablas there. We’re like, wow, this is cool..let’s do more cool stuff. Something like that.

What’s the best thing about it?

The best thing is watching new artists get up in front of nearly 100 desis, and coming more and more into themselves. When you see people willing to get up there, be vulnerable, share a sacred part of themselves, and the audience is so warm and appreciative—it is the most beautiful thing.

What if someone wanted to get involved with it?

They should email us at subdriftdc@gmail.com .

What if a mutineer who isn’t lucky enough to live in D.C. wanted to emulate such awesomeness— any advice for them?

Get a few like-minded people together who are committed to the same thing you are, pick a venue, and go to the ends of the earth to SPREAD THE WORD about it. If your community doesn’t have a creative space for people, chances are people are hungry for it. As long as word spreads, people will come. And especially in the beginning, keep the vibe pretty informal and verryyy welcoming—human connection is the key!

I went to the last Subcontinental Drift and I’ll be at tomorrow’s, as well. The atmosphere that Sophie, Munish, Nina, Mona, Nabeel, Vishal and Surabhi create is extraordinary; upon being dragged to last month’s event, a friend of mine from out of town was actually envious of us DCists, because he thought the open mic/dance performances/live music/stand-up comedy/ridiculously good sangria made for one fantastic night. I agreed and immediately grew mindful of how lucky I was to live here, where creativity manifests like this. I’m telling you, the very air in that room pictured above felt charged, different, exhilarating. You should go, and see for yourself. :)

Subcontinental Drift

An open mic for and by South Asian Americans.

-experiments in words, sound or art
-music
-comedy
-spoken word

Friday, June 29, 2007
7:30pm-10pm
Cost: FREE and we have drinks and snacks!

La Casa Community Center
3166 Mt. Pleasant Street NW
3 blocks from the Columbia Heights metro stop.
(Green or Yellow Line)

Seen any good plays recently? Yeah, didn’t think so. If you’re like me, you tend to fall asleep during big Broadway production numbers, but small “experimental” theaters leave you cringing with embarrassment or irritation. You know, all that minimalist white (or black) space, with some dudes dressed all in black (or white) rattling off non-sequiters.

Theater - playacting before a live audience - is a quaint and arguably archaic form. But I have to say, when done right, it can leave you feeling deliciously voyeuristic, like you’ve peered into another life with an immediacy that no book or movie could ever provide.

So imagine the excitement then, of theater written by a melange of browns and yellows, about them browns and yellows, for the Bs & Ys (and the people who care for them). I’m terribly late (only 3 days left!) in posting this review, so you should stop reading now and scoot off to buy tix to the Fifth Annual Seven.11 Convenience Theater. The talented folks at Desipina created seven short plays, each eleven minutes long, each set it that haven of desi-ness, the 7-11 convenience store.

Date: March 29 - April 14 [Wednesday - Saturday 8pm, Sat/Sun matinees 3pm ] Cost: Tickets are $18

Location: The Abrons Arts Center. 466 Grand St at Pitt Street, NYC. www.henrystreet.org

If you care to know more, join me as I wear my Ben Brantley hat after the jump.

ArtWallah ‘06 is now less than a month away in Los Angeles. SM readers have heard me sing the praises of this organization and its annual festival before. I appreciate what they do and what they are about so much that I have been wallahnteering to help run the festival for the past three years. This year I decided to retire and actually cool out to all the artists and just enjoy myself…or so I thought. Just when I thought I was out, they pull me back in. I’m the new “CashWallah.” I will leave it to your imaginations what that job entails.

Last year I decided to entice SM readers to come out to the festival with a little multimedia tour which made it pretty obvious why anyone within a hundred miles of L.A. (at least) should show up. I hyperlinked to some new musicians, artists, dancers etc. This year the ArtWallah Press Team has saved me the trouble and made a detailed program FULL of interesting hyperlinks to artists many of you have never heard of. It took me an hour to click through them all and appreciate what I saw. It was an hour well spent.

…this year’s ArtWallah festival [at the Japanese American Cultural & Community Center] will present the works of over 40 artists through dance, film, literature, music, spoken word, theater, and visual arts - showcasing the personal, political, and cultural celebrations and struggles of the South Asian diaspora (Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan and Sri Lanka).

Click on “Continued” below for a quick lick.

We’ve got a new inductee for the Exotica Hall of Shame. This Chicago Sun-Times review of a new Chicago pop opera called Sita Ram is out to set some kind of density record for exotica-spew on Desilandia (thanks, WGIIA):

Adding to the spicy flavor are Scott C. Neale’s brilliantly colored street signs of India, Mara Blumenfeld’s curry-tinted costumes (many imported from India), Chris Binder’s deft lighting, plus shadow puppets and exotic instruments. There are moments when it feels like you are watching a traveling troupe that has set up shop in the center of an Indian village, and you half expect a cow or water buffalo to wander through. [Link]

I see that Jai Uttal is involved in this project. Say no more.

“Sita Ram” is the creation of director-writer David Kersnar and Grammy-nominated composer and co-lyricist Jai Uttal… [Link]

Hedy Weiss, you are dead to me

Related posts: Sakina’s Restaurant, Anatomy of a genre, M-m-me so hungry, Buzzword bingo

For me, watching Seven.11 was one of the theater highlights of 2005. It had the sharpest writing and the funniest set of desi and As-Am in-jokes I’ve seen in ages: custom-fit culture in a railroad apartment. The proprietors have done well for themselves behind the counter, unveiling a bigger show in a bigger theater this year:

This year’s line-up includes a kung-fu hustler, run-away teenagers, convenience store surprise reunions, a futuristic free-for-all for Manhattan, and not one but TWO original pop musicals, one of which leaves you questioning, “Who really did kill Mr. Naidu?”

If you’re anywhere new New York between March 30 and April 16, you have to see the musical farce, last year’s was side-splitting. The show’s creative constraint is a gimmick, but it works:

… Seven.11 Convenience Theatre marks its fourth year with a whole new set of seven plays [of 11 minutes each] all set in a convenience store…

The intense, bald and talented Andrew Guilarte returns from last year’s cast. Looking at the list is like watching a star team shed your favorite players (where have you gone, Joe Debarggio, and Lethia Nall, Kavi Ladnier, Anuvab Pal?). You hope the new faces will once again become sentimental favorites.

Featuring the ever-talented cast of Sturgis Adams, Meetu Chilana, Andrew Guilarte, Sean Krishnan, Stephen Tyrone Williams, John Wu, Alicia Ying

They were completely sold out last year, so buy ahead.

Related posts: Reclaiming Apu, Seven chutney squishies, make it quick

A new off-Broadway play about a desi student’s loss of innocence is running off-Broadway through Feb. 25. Huck & Holden refers, of course, to two iconic characters in American lit (thanks, SD).

Here’s a positive review:

Navin’s story begins deceptively, as a collegiate, slapstick coming-to-America tale about a young man just arrived from Calcutta, who’s as clueless about American literature as he is about sex. But as Navin (Nick Choksi) begins exploring his newfound independence, and his burgeoning feelings for the pretty young librarian Michelle (Cherise Boothe), the story transforms into one of unexpected soul and depth…

And, of course, there’s Kali, fancifully realized here as the embodiment of chaos working to establish order, and dazzlingly portrayed by Nilaja Sun. Her careful steps, strenuously stylized hand gestures, and ugly-meets-beautiful dance to cover Navin and Torry’s fisticuffs make her a hilarious and horrifying joy to watch. [Link]

And one more faint:After discovering Navin with a porn mag called Brown Honey, Torry teaches him how to wax a girl’s @ss

Navin’s introduction to the American way of life is explored almost solely through sex, particularly as embodied in the person of Michelle (Boothe), an African-American library worker who befriends Navin while undergoing a breakup with her tough-guy boyfriend Torry (McClain). There is obvious comic potential in this particular culture clash, but the action coasts entirely on the undignified level of racial burlesque, replete with a contrived scenario in which Torry, after discovering Navin with a porn mag called Brown Honey, proceeds to give the naïve Indian a tutorial in how to wax a girl’s ass…

Michelle receives visitations from the Hindu goddess Kali (Nilaja Sun), incarnated here as a trash-talkin’ mama whose caricature, if borderline offensive, at least breathes some life onto the stage. Still, if you’re not fond of stereotypes, do yourself a favor and read some Twain and Salinger instead. [Link]

Bombay Dreams the musical is going on a seven-month North American tour, including Toronto, and dholbanger Dave Sharma is going with it. First stop: Costa Mesa, California, on Feb. 21.

Sachin Bhatt plays Akaash

The final cast was announced this week:

Sachin Bhatt will star as Akaash with Sandra Allen as Rani and Reshma Shetty as Priya in the upcoming tour.. The cast will also feature Deep Katdare as Vikram, Aneesh Sheth as Sweetie, Suresh John as Madan and Christine Toy Johnson as Kitty DeSousa.

The Bombay Dreams ensemble comprises Enrique Acevedo, Tia Altinay, Nita Baxani, Shane Bland, Wendy Calio, Sujana Chand, Tiffany Michelle Cooper, Aaron Coulson, Diane Angela Fong, Monica Kapoor, Namita Kapoor, Stephanie Crain Klemons, Jeremy Leiner, Garrick Macatangay, Kenneth Maharaj, Anil Margsahayam, Skie Ocasio, Desmond Osborne, Christopher Quiban, Kristian Richards, Rommy Sandhu and Marie Kelly. [Link]

Sachin Bhatt… of St. Louis, MO received his B.S. in Vocal Performance with an outside field in Theatre from Indiana University… Sachin will be playing the role of Chino in the upcoming Asian/European Tour of West Side Story… [Link]

Fortunately, the star attraction will be there with them:

The fountain will be featured in the tour… the costumes are from the Broadway production. [Link]

So it was only when I moved to the US (from France) at age 18 that everyone started calling me Sidd, following that American mania of shortening all names to one syllable. I accepted it without thinking, and eventually began using it to introduce myself. At least it spared me the Hermann Hesse questions. But I never felt like a Sidd.

It took me years to accept that the nickname was really bothering me; years more to realize I could do something about it. One day five years ago I sent an email to all my friends asking them to call me any nickname they liked, just not Sidd. It was a profoundly liberating moment. So much so that when I’m called Sidd now, which happens from time to time, it barely bothers me anymore.

But now comes this, and I’m starting to have ugly flashbacks:

SIDD, a new musical based on the novel “Siddhartha” by Hermann Hesse, will begin performances at Dodger Stages 5 (340 West 50th Street) on Thursday, February 23 @ 8:00 PM. With music & lyrics by Doug Silver and direction, book & additional lyrics by Andrew Frank, SIDD will have its official opening on Wednesday, March 22 @ 8:00 PM.

Oh boy. Here we go:

SIDD chronicles the extraordinary journey of a man’s life from his youthful wanderings in his home village, through his many years living amidst the glamour jazz and corruption of the city, his encounter with Buddha and ultimately, his enlightenment that follows. SIDD features a diverse cast of seven accompanied onstage by piano, cello and percussion trio. The musical’s eclectic score draws on various influences from Richard Rodgers to reggae.

Mahajan: The South Asian Soprano

I can hear you asking, is the opera even mutinous? Well, when one of the main characters is played by a South Asian, I guess it starts to fall into that category. Soprano Indira Mahajan is making her debut with the Washington National Opera, in its production of Gershwin’s Porgy and Bess, playing the lead female, Bess. This is the final week of the show which is playing at the Kennedy Center, and has been receiving reviews, which seem to be mostly positive [link via DCist] thus far. For those of you that don’t know, here is a bit more about Porgy and Bess…

“Welcome to Catfish Row. In this poignant tale of love found and lost, the disabled beggar Porgy wins the beautiful but troubled Bess from her macho thug boyfriend Crown only to lose her to “happy dust” and the bright lights of New York.”

This isn’t even close to Mahajan’s first big-time performance, and I am a little surprised we hadn’t heard too much of her until now, although I guess opera circles are a bit different than ones many of us belong to. Here is some more on Mahajan from her bio…

Acclaimed for her portrayal of Musetta, she appeared in the Opera Omaha production of La bohème conducted Hal France and returned to Dallas Opera in the Garnett Bruce production which was conducted by Claus Peter Flor. Recognizing her command of the role, the soprano was invited to perform “Quando me’n vo” in the prestigious Richard Tucker Gala at Lincoln Center. Having performed Mimi for the first time in the Dayton Opera production, Miss Mahajan was invited to repeat the role at Royal Albert Hall marking her opera debut in the United Kingdom. The production was directed by three-time Olivier award-winning director Francesca Zambello and conducted by David Parry. Following her debut, Miss Mahajan was recognized for her “substantial voice” in The London Sunday Times. She will reprise the role at Royal Albert Hall in spring 2006.

To hear an mp3 of what the South Asian Soprano sounds like, click here. Sadly, for those of you wanting to see one of the remaining shows of Porgy and Bess, it seems three nights have already sold out (11/15, 11/18, 11/19), so if you are interested, grab your tickets quickly.

Previously profiled Sikh comic Sody Singh Kahlon is at it again. Kahlon first made waves in the UK with a well received one-man act titled “Sikh in the City” (get it?) and stage/screen performances with his comedy group, the Funjabi’s -

Sody Kahlon first came to prominence as co-founder of The Funjabis, making their name in west London by selling out performances at Watermans theatre.

The group was behind hit comedy plays such as ‘The Funjabi Show’, ‘This Is Your Life, Mr Funjab’ and ‘Don’t Worry Be Funjabi’ at venues around the UK.

…his one-man play ‘Sikhs in the City’ toured internationally to almost 6,000 fans, featured on BBC2, Radio4, BBC World Service and is being released on DVD; he co-wrote the short film ‘We Are One’ with Sarbjit Bakshi, which formed part of a Channel 4 film scheme; and has done various acting stints on BBC and ITV.

Kahlon’s back with a new show titled “Soul Sikher”. Reports from across the pond indicate that Kahlon is using the tried and true country-bumpkin —> big city —> country-bumpkin / clash of cultures plot -

The province of Ontario is subsidizing the Toronto Lord of the Rings musical with a $2.5M (U.S.) loan. As posted earlier, A.R. Rahman is composing the music, his theater sequel to Bombay Dreams. It promises to be the most expensive theater production ever:

Ontario’s officials - on behalf of their 12 million citizens - have signed on as investors for the show, which is expected to be one of the most expensive ever… the provincial government will contribute some $2.5 million of the show’s $23 million budget… The stage version’s $23 million price tag would make it more expensive than any show on Broadway. “The Lion King,” by comparison, cost Disney some $20 million…

Air Canada has donated more than $1 million worth of airline tickets to help the creative team - which includes… an Indian composer, A. R. Rahman; and a Finnish folk music group, Värttinä - commute back and forth to Toronto…

Press materials circulated for the show call it “the biggest and most ambitious theatrical production ever staged,” promising a three-and-a-half-hour event that starts even before the curtain rises. (Hobbits are to prowl the aisles as the audience enters.) [Link]

The one fiscal conservative left in Canada was outraged:

… eight of every 10 Broadway shows fails to earn back their money… “This government is certainly creative when it comes to spending taxpayers money, but not when it comes to saving it…” Kheiriddin noted that the province dropped $1-million to get popular American talk-show host Conan O’Brien to host a week of TV shows in Toronto last year.

But Bradley said… $4.6-million in grants offered by the province following the SARS outbreak generated some $50-million for Ontario’s tourism industry. [Link]

There I was, shivering in the winds of the great plains, trying to figure out how, exactly, the Mutineers were going to haze me. Downing a glass of sweet and salty lime water to calm my fluttery stomach, I tried to imagine the worst. Would Abhi race me in rappelling down the face of the North Dakota headquarters? Perhaps Vinod and Manish might make me read aloud from the works of Ayn Rand while standing on one leg? Might Anna challenge me to a literary write-off?  Could Sajit make me play some hyped up diasporic version of the Filmigame? Perhaps in the mountain headquarters’ darkened corridors, Ennis would torment me with a tantalizing, mirrored glimpse of a single eye, stirring up Sepia speculation about the rest of his mysterious visage. 

Somehow, all these were not so scary. The Ig Nobel prize post, however, reminded me of last year’s peace prize—and the dreaded combination of Karaoke and Antakshari. What could possibly be worse than being made to perform in public like that?

Except, I suppose, that’s what blogging is. Hey, look at me, I’ve got something to say. Well, might as well make it an entertaining group activity. If I had to describe the culture of the South-Asian American community in a single sentence, I might very well hit on this: We’re very supportive—perhaps too supportive—of our children’s performance-related self-esteem. It only takes two or three Diwali shows with a hundred klutzy butterballs bouncing around the stage, adorably off-beat, to realize that we start drinking in theater with our mothers’ milk. This season brings a fresh batch. 

This American television season-premiere week for some reason has been filled with an unprecedented number of desis. Not including the various desis already appearing as regulars on television series, the week began with Indira Varma on Rome, Toral on the apprentice, and relative newcomer Maulik Pancholy on the new Showtime series Weeds, which airs Monday’s at 10 pm.   Pancholy, who was previously seen in Hitch, and appeared as various generic brown characters in a handful of sitcoms (including Jack and Jill and the hilarious Tracey Takes On), scored a recurring guest role on Weeds, which stars Mary-Louise Parker and Kevin Nealon. A bit early to say, but could Pancholy be the next Kal Penn?

Incidentally, Pancholy is starring in the off-Broadway play, India-Awaiting, which opens for previews on October 15, 2005 at the Samuel Beckett Theater.

See Manish’s previous post on Pancholy here.

My ridiculously talented corporate whore / playwright friend Anuvab Pal has managed to get a reading of Life, Love and EBITDA into the Public Theater’s festival of emerging artists. God knows what this’ll do to the size of his head. We can only hope the play lands with a thud so Anuvab continues to fit through Manhattan’s notoriously narrow doorways. But judging from past audience reaction, he’s taking the double-wide lift from now on.

Ruled from London by millionaire twins with workers toiling in India, the sun never sets on Gofuz Inc.-the world’s largest manhole-cover maker. But two women bankers have devious plans to reshape Gofuz and the future of global waste. [Link]

… investment bankers… I found fascinating because they were supposedly the cleverest people in the world, working harder than anybody else but producing absolutely nothing… I step on a manhole cover every day here in New York and it says Made in India… Every “corporate play” is always about men in suits… So why not a Wall Street play about women?… “A man’s his job,” I think Mamet told us in Glengarry Glen Ross. [Link]

Yeah, along with some other choice words now recanted

… it is easier to write a play about architects or poets because… everyone knows exactly what the end product is, a house or a poem for example… I have spoken to many senior bankers, been in the industry for many years, and they have no idea either, except it is something that pays for their kids’ colleges. [Link]

I’ve seen a reading of this play. It’s a very funny, wordplay-packed satire about the i-banking grind, the buying and selling of companies and, of course, sweet sweet lowe. Go see LL&E if you find wicked-smart women slinging finance and deconstructing romance hot.

Did I mention it’s free?

Previous posts: one, two, three, four, five, six, seven

I know it seems like we only post cool things to do in NYC, L.A. or D.C. but yay urrea readers, take dil: this one’s for you. Next week, you should totally drag your friends and frenemies to Mutineer Manish’s old stomping grounds, for an evening at the theater.

You’ll be watching The Domestic Crusaders, a two-act play which takes place on a single day in the life of a multi-generational Pakistani-American family—a day, by the way, that happens to be the “baby’s” 21st birthday:

With a background of 9-11 and the scapegoating of Muslim Americans, the tensions and sparks fly among the three generations, culminating in an intense family battle as each “crusader” struggles to assert and impose their respective voices and opinions, while still attempting to maintain and understand that unifying thread that makes them part of the same family.

How’s that for salient? If you’re worried about whether or not it will be good, here’s what the Contra-Costa Times had to say about it:

Wajahat Ali didn’t set out to write an earthshaking play. The Berkeley student was taking a short story course from Pulitzer Prize nominee Ishmael Reed. When his professor pulled him aside and told him he was a natural playwright, Ali couldn’t believe it. “I thought it was pure nonsense,” Ali says. Reed encouraged Ali to write a Muslim-American response to 9-11. “All I wanted to do was pass a class,” says Ali, who succeeded in doing much more than that.

Hey. All you readers who have totally reasonable gripes with the media, for not covering a broader, more accurate world— this blockquote’s for you:

“Domestic Crusaders” represents Muslim-American voices that have not been heard because we are living in a country whose media is censored…

“In the largely Pakistani-American audience at the premiere of the play, people were roaring and falling off their chairs,” says Blank. “It’s the kind of audience most original playwrights would kill to be able to contact,” Blank says, laughing.

Spamalot and The Light in the Piazza were the big winners at Sunday’s 59th annual Tony Awards. Any early favorites for next year? From April’s Detroit Free Press:

The next big thing in theater, the musical version of “The Lord of the Rings,” is scheduled for its world premiere in 2006 in Toronto. Previews won’t begin until Feb. 2 and the show has yet to be cast but producer Kevin Wallace offered a preview Thursday night to tour operators and other invited guests at the Renaissance Center.

Emphasizing “LOTR’s” human aspects before he mentioned its special effects, Wallace called the show “as powerful and emotional a story as you’ve ever experienced in the theater.”

Some particulars: The show will run 3 1/2 hours, including two intermissions; the music is by Indian composer A.R. Rahman (“Bombay Dreams”) and Finnish folk group Varttina, and there will be Hobbits mingling with playgoers before the show.

Playbill.com recently noted that advance tickets are already being snatched up:

In the first week of sales toward the February 2006 Toronto world premiere of the musical The Lord of the Rings, theatregoers snapped up $7 million (Canadian) in tickets, a spokesperson for the Toronto producers confirmed.

One might cringe imagining a quirky show tune of sweet admonition from Frodo called “Oh, Sam!,” about hobbit pal Sam’s dogged faithfulness. Don’t expect it: Traditional musical theatre is not what India’s most popular composer, A.R. Rahman, and the Finnish group Värttinä, collaborating with Christopher Nightingale, write.

What would the elves sing? What is the sound a hobbit dances to? Can an orc carry a tune?

Expect varied Asian- and European-influenced sounds to suggest the many tribes of the story.

No word yet as to whether or not the Orcs will dance Bollywood style in the background.

Seven.11 turned out to be insanely good, and if you’re in NYC you have only five days left to see it. This series of seven short plays, each 11 minutes long is absolutely hilarious, and the performers were obviously having a blast.

I love this deeply about NYC, you can see desi American scripts you can’t see performed anywhere else: it’s custom culture. Anuvab Pal’s piece was good, as usual, but the consistency was surprising — maybe five or six of the seven microplays were really, really good, or at the very least funny, and the rest is forgivable. The off-off-Broadway aspect of the whole endeavor lowers expectations, but I could see some of these, fleshed out, doing well on a large stage.

Soonderella is destined to be a cult hit. It’s definitely the only desi parody musical I’ve ever seen. Debargo Sanyal’s stammering, braying swain F-F-Fofatlal brought down the house. Pal’s Paris is a sharper, more malignant Before Sunrise; as in Chaos Theory, he has quite the ear for the advance and reverse of flirtation, it’s love as war zone. My only real complaint is the purely classicist flavor of the references, Sartre is no longer a young Turk.

Color Me Desi is a takeoff on Goodness Gracious Me’s rude boyz, and S.A.M.O.S.A. (South Asian Men Organizing Sci-Fi somethings) is a gut-busting Asian version of Napoleon Dynamite. And the in-jokes were fabulous. One actor had a line in the first piece, ‘C’est la vie — it’s your line.’ In the final play, the same actors: ‘C’est la vie.’ ‘Deja vu?’ Winky tone, blink and you missed it. 

Yoko Ono, the almighty creator of cacophony and destroyer of institutions, allows a Broadway-bound musical to perform a pair of unpublished songs written by her late husband, Beatle John Lennon. One of those songs, “India, India,” received yesterday its first-ever public performance:

Lennon wrote ‘India, India’ in the late 1970s for a musical of his own writing named after his song The Ballad of John and Yoko. However, the show was never performed and the track remained unheard. It seems likely that in ‘India, India’ Lennon was writing about his 1968 visit to India, when the Beatles indulged their spiritual side at the ashram of Maharishi Mahesh Yogi in Rishikesh. [Apun Ka Choice]

Apun Ka Choice: Lennon’s ‘India, India’ on Broadway
Times of India: India, India lyrics

There’s some buzz surrounding plans to bring together western and Indian music for the U.K.-theatre production of MM Kaye’s classic romantic novel “The Far Pavilions”:

The original book, published in 1978, told the story of forbidden love between an Indian princess and a British army officer during the time of the Raj. To replicate the contrast between the two cultures that forms the essence of the book, the new musical, directed by Gale Edwards, has two composers - Philip Henderson, who is British, and Kuljit Bhamra, who is Indian. [BBC News]

Gurinder Chadha has got to be pissed. Her monopoly on brown-woman-white-man productions appears to have crumbled. Every KFC in her immediate vicinity is advised to prepare for an onslaught of takeout orders.

BBC News: Indian music tradition revived in musical

Re: Apul’s post, David Mamet’s racist salesman drama Glengarry Glen Ross is being revived on Broadway next Wednesday. Even though the lines are uttered in character, it’s a deeply offensive play:

MOSS: I’ll tell you what else: don’t ever try to sell an Indian.

AARONOW: I’d never try to sell an Indian.

MOSS: You get those names come up, you ever get ‘em, “Patel?”… You had one you’d know it. Patel. They keep coming up. I don’t know. They like to talk to salesmen. They’re lonely, something. They like to feel superior, I don’t know. Never bought a fucking thing… They got a grapevine. Fuckin’ Indians, George. Not my cup of tea. Speaking of which I want to tell you something: I never got a cup of tea with them. You see them in the restaurants. A supercilious race. What is this look on their face all the time? I don’t know. I don’t know. Their broads all look like they just got fucked with a dead cat, I don’t know…

ROMA: Patel? Ravidam Patel? How am I going to make a living on these deadbeat wogs? Where did you get this, from the morgue?… Patel? Fuck you. Fuckin’ Shiva handed him a million dollars, told him “sign the deal,” he wouldn’t sign. And Vishnu, too.

The play, written in 1984, won a Pulitzer and was turned into a major 1992 film with Alec Baldwin, Al Pacino, Kevin Spacey and Ed Harris. Mamet had second thoughts, but only decades later:

He thinks maybe he should take another look at his anti-Indian remarks that still smolder in Glengarry Glen Ross, a play he wrote 20 years ago. “Patel” was a racial epithet uttered by guys in his line of work years ago, when he was selling real estate. Maybe it doesn’t belong in the play anymore, given what the times are now.

The New York Times runs excerpts of three winning selections from the American Conservatory Theatre’s “Write Like Mamet” contest, including my brother’s “Mamlet.” I have no doubt that if Shakespeare were alive today, he too would pepper his prose with an occasional f-bomb:

“MAMLET”
By Nihar Patel (Los Angeles)

An empty stage. All performers are dressed in modern business suits.

CLAUDIUS (Ricky Jay) You are a gentlemenly fool. And you haven’t closed a castle in months. You’re old hat, and that comes from downtown.

MAMLET (William H. Macy) Old hat? Old hat. Let’s wait Claudius. Claudius, wait, back up here ... I can close, all I need are those Elsinore leads. I want them and I want them posthaste.

CLAUDIUS Go to Norway Mamlet. Will you.

MAMLET Give me two good leads. Anon.

CLAUDIUS Just go to Norway.

MAMLET I don’t want to go to Norway.

CLAUDIUS Go to Norway, Mamlet.

MAMLET Where does he get off to talk that way to a Prince? It’s not ...

CLAUDIUS Will you get out of here. Will you get out of here. Will you. I’m trying to run a kingdom here. Will you go to Norway? Go to Norway. Will you go to Norway?

MAMLET You stupid [expletive] [expletive].

Mamlet stabs Claudius.

The New York Times: Channeling Mamet (free registration required)
Previous post: Legit brownout

Could there be anything better than an orgy of sepia theatre? Yes. An orgy of lesbian strippers. Aside from that, this is tops:

Los Angeles

“The God Botherers” — Actress Reena Dutt performs in an ensemble comedy about aid workers in Tambia, a place where there’s no rule of law, the last war’s ruined everything, and the next war will ruin everything else. So it’s like a session of the U.S. House acted out on stage. Mar. 25-Apr 24, Thurs.-Sat. 8 p.m., Sun. 7:30 p.m., $15-24, Pasadena Playhouse. (via Hollywood Masala)

“Pounding Nails in the Floor With My Forehead” — (Insert any random joke here about the title describing the dating scene in L.A.). Actor Mark Antani performs a one-man show originally written in 1994 by playwright Eric Bogosian. It’s a collection of eight pieces, with each showcasing a different character expressing rage and unhappiness in a humorous and witty fashion. Mar. 25-May 1, Fri.-Sat. 8 p.m., Sun. 5 p.m., $15, Third Street Theatre.

“Are You With Me? F**k the Middle East — What’s for Dessert?” — As character Vinay Khan, actor Ajay Mehta performs a solo comedy about growing up in India, moving to New York, and becoming the banquet manager of the United Nations. It’s partially based on his real life. We’re guessing that the part about the U.N. is fabricated, as Mehta’s performance demonstrates an effectiveness and efficiency rarely seen from the league of nations. Mar. 23-31, Wed.-Sat. 7:30 p.m., free, reservations required, The Complex.

San Francisco

“Mamlet” — Writer Nihar Patel’s David-Mamet-ized version of Hamlet gets a staged reading by members of the prestigious American Conservatory Theatre. It joins other winners of the 2005 "Write Like Mamet" contest. Rumor has it that Mamet himself entered, but wasn’t chosen. We’re assuming that it’s because his newest piece performs earlier in the evening, and the theatre didn’t want patrons to O.D. on pure street-grade Mamet dialogue. Apr. 2, Sat. 10:30 p.m., free, Geary Theater.

Playwright Anuvab Pal has a new play in staged reading this Saturday, March 26th, 7pm at the Queens Museum of Art. The play is ‘a historical comedy set in a Savile Row suit shop.’ He writes:

It’s called Out of Fashion and it’s an hour long comedy about British tailors, Indian fashion designers, Irish patent clerks and Indian freedom fighters. It attempts to be funny. Would be great to see you there.

The QMA is currently hosting art exhibits from both American desis and the subcontinent. Here’s the rest of their theater schedule:

• Saturday, 6:30-7pm, preview of Seven.11
• Sunday, 4:15-5pm, staged reading of Deepa Purohit’s Exile: ‘a story of a South Asian woman’s journey through memory which spans two continents in search of lost loves’

The museum is also hosting dance performances throughout this weekend. Full details here.

Update: Vernacular Body reviews Out of Fashion:

The play was good fun, despite the absence of props and an abundance of wild accent shifts: neither the upper-crustish (fathers) nor the Dublinish was particularly convincing, and the cockney (sons) was a complete cock-up.  Had a good mind to send them tapes of David Beckham talking, innit?  But there was much wild punnery to be had, Alfred J. Prufrock played a major role, andapt indeed was the nudge-nudge wink-wink cleverness of the Monty-Python-meets-Falstaff variety (which I happen to like) as the play was set in a Saville Row tailor shop.  I confirmed with the playwright afterwards that Wilde and Stoppard were major influences on his sensibility.

Amul Butter parodies the world of entertainment (via Boing Boing and Avi Solomon). Click each ad for a related post.

      

Some of the political parodies are in questionable taste, but always feature delightfully dorky desi punnery:

 

Check out the full archive, which dates back to 1976.

Desipina is again hosting its low-rent, highwire theater collection Seven.11 in Manhattan, and Anuvab Pal is contributing a new piece called Paris. The schtick is that playwrights of all colors contribute seven tales of 11 minutes each, all set in convenience stores. It sounds much like 11.9.01: September 11, a collection of short films 11 minutes, nine seconds and one frame long by filmmakers including Mira Nair, Sean Penn, Alejandro Gonzalez Inarritu (Amores Perros), Samira Makhmalbaf and Youssef Chahine.

As far as creative gimmicks go, this is a good one: even the Manhattan Project found creative benefit in time constraints, although nuclear incineration has been known to be motivating. This is the third year of Seven.11, so it’s clearly a successful franchise. The quick-witted Lethia Nall, who was so good in Alter Ego’s production of Tom Stoppard’s Indian Ink, appears in both Paris and Soonderella.

Anuvab Pal’s PARIS: Paris is a play about an 11 minute conversation without consequence on a lazy Paris afternoon…

Samrat Chakrabarti/Sanjiv Jhaveri’s new musical SOONDERELLA: a fairy tale of a different colour… The only way to follow up with last year’s wildly successful A Very Desi Christmas, a pop musical adaptation of Scrooge, is with another 11-minute musical set in the convenience store…

It’s also a clear demarcation between Right and Left Coast desi stereotypes; the Left Coast analogue would be 80 tales of 86 engineers, but who’d go see it? Bugaboo and nerdcore call my bluff.

Sajit posted about a version of Bombay Dreams set to open in Bombay itself.

The show may have the opposite problem in Bombay from the one it had on Broadway. Would it seem the least bit novel in the city that serves as its muse? Or would Bombayites give it a collective shrug, like Delhiites did with Monsoon Wedding: ‘That’s a documentary, not a musical’?

I had the damnedest time getting my cousins who grew up in India to see Bombay Dreams with me. ‘This is a play about Bollywood?’ they said. ‘But we watch that every day only. Isn’t it?’

Here’s a chance to catch one of my favorite plays by one of my favorite playwrights while scratching your desi sense of economy at the same time. A free staged reading of Chaos Theory by Anuvab Pal is taking place Mon 1/17 and Tue 1/18 in Manhattan.

Chaos Theory is an intensely romantic, delayed-gratification talkie for people who dig wordplay — you Before Sunset, Raincoat, Tumhari Amrita, Woody Allen fans. Y’all know who you are, you silver-tongued scoundrels.

The reading is being put on by Pulse Ensemble Theatre; Rajesh Bose, Sanjiv Jhaveri and Rita Wolf (My Beautiful Laundrette, Homebody / Kabul) star, Alexa Kelly directs.

As Sepia Mutiny mentioned, the NYC run of the London hit musical Bombay Dreams closed this past weekend. Rediff reports, however, on an interesting, far more long-term development within the cast -

As Manu Narayan, Tamyra Gray, Sriram Ganesan and Anjali Bhimani joined 34 of their peers in Bombay Dreams to take the final Broadway bow on New Year's Day, at least one actor was taking home more than memories and an impressive resume.

Aalok Mehta, part of the ensemble cast, is now engaged to Anisha Nagarajan who played Priya, the idealistic movie director, in the musical for about six months.

Some interesting financial info & hope for a Bombay Dreams road tour -

Most among the cast of Bombay Dreams are hoping to join the road tour that could start this summer, provided the producers, who have lost about half of their $14 million investment in the Broadway production, are able to raise fresh investment and get good backing from regional promoters.

Playbill.com has a preview of Gheri Dosti which is a series of five short plays with a “South Asian bent,” opening tomorrow in NYC:

The red-hot issue of same-sex marriage became a sticking point during the past election year in the United States. It’s no secret, however, that this controversial topic extends well beyond American soil to even the most remote reaches of the planet. Circle East, a New York-based company, will present Gehri Dosti, a collection of five short plays exploring same-sex relationships in South Asia, beginning on Jan. 6.

Playwright and director Paul Knox has conceived the work, which had its world premiere last fall at Harvard University’s Leverett Old Library. Prior to that production, the individual sections that comprise Gehri Dosti: 5 Short Plays with a South Asian Bent had been developed in festivals the world over, from New York to Cape Town, South Africa. The Harvard production represented the first time the pieces was combined to form a full evening of exploratory theatre.

With the AIDS epidemic spreading exponentially through developing countries, Gehri Dosti is as much about spreading knowledge as it is about civil rights advocacy. In addition to serving as Circle East’s executive director, Knox is the co-founder of the Tides Foundation’s India Fund, an organization that facilitates community building efforts and educational initiatives among South Asia’s gay groups. He has also conceived and co-produced Mela: A South Asian Festival of performances on the Indian subcontinent. For his work with the Russian Academy of Theater Arts, Mr. Knox has been a co-recipient of the United Nations Society of Writers Award.

As I type these very words, Bombay Dreams on Broadway is finishing up the final performance of its eight-month run. Its closing unleashes a horde of desi actors with Broadway experience. May they find their way to productions far beyond these comfortable shores.

Richard Corliss of Time analyzes Bombay Dreams’ short run:

[Meera] Syal, a writer and performer on the Anglo-Indian sitcom Goodness Gracious Me, could assume that the London audience would be knowing too — they’d be familiar enough with the genre to get the jokes poked at it. Bollywood films get a fairly wide release in the U.K., often making the weekend box-office top ten. Because the South Asian community is proportionately larger in Britain than in the U.S., the Bollywood culture more deeply permeates the official culture. Indian films can gross millions in the States and not be seen by anyone outside the subcontinental diaspora…

Essentially, he had to write a primer on Bollywood: explain the genre, then rack some jokes about it. Most of Syal’s best lines vanished. The show became soft and lumpy. The New York Bombay Dreams was a desperate, failed reworking of the London version… The Indo-American audience wasn’t large enough to keep it afloat, and it didn’t attract the idle non-Desi curious.

The outreach to critics was a disaster for this straightforward, unironic ’50s-style show. The London show had a better book and more physically striking actors, though the New York version had stronger singers and a slicker production.

And what is the sound of one critic’s heart breaking? Corliss has found his guru, and it’s the show’s composer A.R. Rahman:

Rahman is not just India’s most prominent movie songwriter… but, by some computations, the best-selling recording artist in history. His scores have sold more albums than Elvis or the Beatles or all the Jacksons: perhaps 150 million, maybe more.

Over the weekend in England, a play about improprieties at a Sikh temple took a violent turn as reported by the AFP and several others:

A black comedy that triggered a weekend mini-riot because of its references to rape in a fictional Sikh temple has been cancelled, the playhouse in the English Midlands that was staging the play said.

The Birmingham Repertory Theatre said that, after consultations with police and Sikh community representatives, it was lowering the curtain on further performances of “Behzti” (Dishonour).

The piece, by Sikh actress turned playwright Gurpreet Kaur Bhatti, had sold out its entire run, but it upset Sikhs enough to prompt a series of peaceful demonstrations which turned violent on Saturday.

Three men were arrested, five police officers hurt, and the audience of some 600 evacuated in the melee, in which up to 400 protesters stormed the Rep, damaged doors, set off fire alarms and damaged backstage equipment.

The violence was apparently due to the same type of sanctimonious logic that we see displayed in so many other religious traditions.

…Sewa Singh Mandha, chairman of the Council of Sikh Gurdwaras in Birmingham, said “Behzti” offends on the grounds of falsehood.

“In a Sikh temple, sexual abuse does not take place, kissing and dancing don’t take place, rape doesn’t take place, homosexual activity doesn’t take place, murders do not take place,” he told BBC radio.

“I am bringing to the attention of the management of the theatre the sensitive nature of the play, because by going into the public domain it will cause deep hurt to the Sikh community.”

Among Bollythemed entertainment, Bombay Dreams on Broadway and Bride and Prejudice in the UK have both trended sharply downward after strong openings. Two other desi (but not Bollywood) projects, Vanity Fair and Harold and Kumar, also did weak box office.

It’s tempting to conclude from the business torpor that America is not yet ready for desi culture, that the existing revenues reflect mainly interest from niche, culture-sampling subcultures. But take a look at it from the perspective of the ‘big bang’ launch: the $1B marketing campaign for the presidency, the $250M spent on the Windows 95 launch and so on. Creating a market via customer education is far more expensive and time-consuming than just selling into existing positioning slots (Spiderman 2). The former is a long-term campaign, while the latter is straightforward, tactical awareness-raising: hit the magic 7+ impressions per customer, and you’ll get higher sales.

I’m pretty sure fusion desi culture in the U.S. is not a fad. It’s a strong subculture with intense palettes, a supporting South Asian American population and rising awareness. So each desi cultural product, no matter how it performs, is also an in-kind contribution to the ‘big bang’ launch for Desis in America. This launch is being done in pieces, as befits a small, innovative product growing organically. The endgame is probably similar to the awareness and saturation of desi subcultures of the UK or Canada, albeit more dilute.

So while Meera or Mira or Gurinder or Kal may be nibbling discontentedly on their numbers, they can take some consolation in their contributions to a larger campaign, no matter how unintentional.

Not really into Bombay Dreams? Well if you live in New York you may be in luck. Sakharam Binder is being staged by The Play Company. From Villagevoice.com:

How often do New York theatergoers get a chance to see a premier work from a major Indian dramatist, staged with the collaboration of the writer himself? Almost never. Vijay Tendulkar’s Sakharam Binder was written and first performed in 1974 and hardly qualifies as a new play. Thirty years after setting Indian censors aflame, it makes its New York debut in a spare, lucid, and altogether thrilling production from the Play Company. At a time when the airheaded confection Bombay Dreams passes for subcontinental theater, Sakharam Binder not only feels vital, but painfully necessary.

Sounds interesting, but I don’t know the story really. What’s it about?

Sakharam is a fortyish bookbinder who offers lodging to cast-off women in exchange for housekeeping favors and the occasional fuck. The drama focuses on two of his concubines—the introverted and ultra-religious Laxmi (Anna George) and the arrogant and slutty Champa (Sarita Choudhury). Their sequential stories are told in highly diagrammatic fashion—Laxmi brings out the Fagin-ish slave master in Sakharam while the insatiable Champa reduces him to a lovelorn puppy.

Oohhh. Saucy.

Update: I had missed the fact that Sepia Mutiny has already covered this story in more detail here.

A Brooklyn theater company is presenting a minimalist staging of E.M. Forster's novel A Passage to India:

... the company uses a single, brushed-metal set, simple white costumes, a few chairs and props, and a small cast of actors to present Forster's multilayered story of cultural conflict in colonial India... there are some clever bits of invention in Ms. Meckler's staging - for example, a lumbering elephant represented by a pyramid of softly swaying actors... no more illuminating is the decision to recast the tale as a flashback, and employ the novel's most prominent Hindu character, Godbole, as narrator...

[Forster] clearly meant Dr. Aziz to embody the unfettered emotionalism that he observed in Indian Muslims. As played by Mr. Caan, he is temperate and considered, a perfectly turned-out, machine-tooled product of British colonialism. Dr. Aziz concludes the play with a passionate speech denouncing the British occupying forces, but you wouldn't be surprised to see him turn around and invite his enemy to join him in a game of cricket.

At Brooklyn Academy of Music, Harvey Theater, 651 Fulton Street, Fort Greene through Saturday.

Sarita Choudhury is starring in acclaimed playwright Vijay Tendulkar's work 'Sakharam Binder' in Manhattan. This play, Tendulkar's most famous work, was once banned in India:

"Sakharam Binder''... tells the story of Sakharam's seventh and eighth "birds" (as his envious friend Dawood calls Sakharam's women). Laxmi (Anna George) is shy, submissive and pious, whereas Champa (Sarita Choudhury), her successor, is brash, voluptuous and spoiled... Ms. Choudhury radiates a proud, willful acuity that reads as desperate indignation as Champa shirks, malingers and turns to alcohol to blunt her disgust at Sakharam's sexual demands...

Mr. White vividly captures the strange and complex pathology of Sakharam, who seems to want to please his "birds" even as he bullies them and who speaks like a freethinking crusader for women's rights one minute and like an philistine scornful of their devotion to him the next... Like Brecht's Mother Courage, he exploits a corrupt system for personal advantage, then discovers that the price of playing the game is everything he hoped to protect.

The last play I heard of starring Choudhury was the off-Broadway 'Roar' by Palestinian-American playwright Betty Shamieh. I ran into Shamieh at a BBQ; despite her heavy subject matter, she's very funny in person.

Part of the IAAC's Tendulkar Festival, through Nov. 14 at 59E59 Theaters, 59 East 59th St., Manhattan.

Here’s a great photo gallery from the April premiere of Bombay Dreams in New York. Celebs in the photos include A.R. Rahman, Padma Lakshmi, Ismail Merchant and James Ivory, Meera Syal, Andrew Lloyd Webber, Claire Danes, Edie Falco (The Sopranos), Kenneth Cole, Donald Trump and hydraulically-assisted girlfriend Melania Knauss, Ivana Trump with boy-toy, and former Miss USA Shandi Finnessey. And it’s interesting to see, out of costume, the guy who plays Sweetie the hijra. Salman Rushdie and Bill and Hillary Clinton have also seen the show.

Janet Jackson was offered the role of Rani the seductress, replacing Ayesha Dharker. With family-friendly lyrics like ‘Got a nice package all right, guess I’m gonna have to ride it tonight,’ and her patriotic role in the Teat Offensive, Jackson would fare well with desi family audiences.

A London production of Shakespeare's Twelfth Night reimagines the play by setting it in modern India. Stephen Beresford's production opened Aug. 26 in London for a ten-week run, featuring a mostly desi cast for the classic gender-bending, mistaken identity tale.

The production relies on notable actors including Kulvinder Ghir (Goodness Gracious Me) as Feste, Raza Jaffrey (fresh from London's Bombay Dreams) as the duke, and Neha Dubey (the cutie in Monsoon Wedding). Shireen Martineau plays the androgynous female lead, Viola. Jatinder Verma from Tara Arts is advising; he previously put together an all-desi version of Moliere's Tartuffe at the National Theatre in London.

Beresford said India was exactly what he was looking for:

...[M]odern people in a modern setting but living in a culture that’s rooted in its past, mysterious, religious and magical; a place where attitudes to sex, love and death are frank and realistic, but where women might veil themselves in front of strangers; a world of shrines and marriage settlements, where ancient music and ritual are a part of daily life... Once India had suggested itself, the solutions followed. Feste becomes a Baul singer, a Bengali tradition of nomadic minstrels and soothsayers... [A]n Elizabethan setting carries its own problems. If you want the freshness and sophistication of the play to come across, you set yourself an uphill struggle by kitting out the actors with ruffs...

Anuvab Pal, one of my most favorite playwrights, is unleashing a new play upon the world at the NYC Fringe Festival tomorrow. The Fatwa synopsis:

A comedy about two elderly men who try to take advantage of the current American political climate to fulfill lifelong artistic desires. Both men have famous names, but are not famous themselves. They are failed writers who in attempting to promote a blasphemous novel, attempt to engineer a fatwa...

More here:

Pal compares favorably to Salman Rushdie in verbal pyrotechnics and Tom Stoppard in barbed wit, and he's starting to get mainstream recognition... like Woody Allen minus the neuroticism... Fatwa is a thinly disguised satire of Rushdie's horrific hide-and-seek with the mullahs.

Pal's work is a treat, go see the play!

Fatwa by Anuvab Pal, NYC Fringe Festival, Players Theater, Studio 3C, 115 MacDougal St, New York, NY, Aug. 14-15, 20-22, 25, 26, tickets at TicketWeb

Florida is getting a Bollywood version of one of my favorite Shakespearean plays, ‘A Midsummer Night’s Dream.’