"Gandhi" by Naatak: the Man behind the Legend
“No man’s life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record and try and find one’s way to the heart of the man….”
Thus begins Richard Attenborough’s epic 1982 film “Gandhi” with the extraordinary Ben Kingsley as Gandhi. The much-lauded film, a deeply moving homage, was made by an Englishman, for an international audience. Every word spoken in that film is in English. Even Gandhi’s unforgettable words on being shot, “He Ram!” known to every Indian, are spoken as “Oh God!” in the film.
In pleasing contrast, Naatak’s play, “Gandhi”, musical theater in the tradition of Naatak’s own “Mahabharat”, is multilingual, capturing India’s vibrancy in its many tongues. Hindi, Gujarati, Tamil are spoken, Bengali is sung along with Hindi and Gujarati, and we even see a couple of signs in Malayalam. Supertitles in English make the languages accessible to all. I watched it on September 20 at the Cubberley auditorium in Palo Alto.
In writer and director Sujit Saraf’s telling, the story begins with Mahatma Gandhi‘s journey to England, where he went to study law.
He returned to Bombay as a barrister, and after an unsuccessful 2-year stint, left for Durban, South Africa for work. Armed with his legal degree, he successfully represented oppressed Indian laborers, and gained stature and respect, both in South Africa, and in India. On returning to India as a well-known figure, he took on his historic role in India’s independence movement, transforming in time to “the little brown man in a loincloth who led his country to freedom” in the words of American broadcast journalist Edward R. Murrow at Gandhi’s funeral.
Attenborough’s film has been criticized by some as hagiography. Unquestionably possessing the saintly qualities presented admiringly in Attenborough’s film, Gandhi also had his eccentricities and odd, extreme behaviors. Sujit Saraf’s telling paints a more balanced portrait of the man, with his idiosyncrasies. He was not born, after all, as the Father of the Nation. In a few clever scenes, Naatak shows Gandhi’s foibles. He stops drinking cow’s milk, believing that the milk meant for calves is taken forcibly from a mother. When asked why it was OK to drink goat’s milk, and why he didn’t have the same reservations, he smiles and shrugs.
Then, the experiments with celibacy. As asked in the play, “Shouldn’t his wife have a say in the matter?” The play shows his early life and career in great detail, and humanizes the legend. Listen to more about this portrayal at KQED radio, where Sujit Saraf spoke with Michael Krasny on Forum earlier this month.
Naatak presents with fitting respect, Gandhi’s coining the term Satyagraha, the force of truth: the term for peaceful protests and civil resistance that are among his greatest contributions to society. Gandhi emerges as a man of conviction, a believer in fairness and justice, a calm, skilled negotiator in the face of racist opposition. What runs most deeply through the play, as in his life, is Gandhi’s deep desire to unite Hindus and Muslims. On being told that “there is too much bad blood” in Noakhali, Bangladesh, he responded movingly “It is the same blood, good or bad.”
One of the most egregious and dishonorable attacks by Britain on Indian soil, the massacre of Jallianwala Bagh in Amritsar, is depicted with tremendous artistry and power. As General Dyer commands his troops “Take your positions!”, and continues with “Fire!”, the dancers fall to the ground, one by one, until none are standing. This, for me, was the most powerful scene in the play.
It was on the anniversary of this day that Gandhi planned to peacefully protest British oppression by marching to the coastline and making salt from the Indian Ocean. With civil resistance, he broke the British resolve. In addition to Nehru, Jinnah, Maulana Azad, and Sardar Patel, Naatak’s play is inclusive of more of the major historical figures and freedom fighters of the time: Bhagat Singh, Rabindranath Tagore, Sarojini Naidu, and Dr. B.R. Ambedkar. Soon after Tagore appears, we hear one of his most famous patriotic songs “Ekla Chalo Re” ("If no one comes when you call, then go on alone").
Then independence and the bloodbath following Partition, shown with a stage lit in blood-red.
The play ends with Gandhi’s assassination, the shock of the nation and the heartbreak of his loss permeating the audience. He fell to the volatile religious sentiment and animosity that he worked so hard to quench.
The play focuses much time on the making of the man. I wondered if a trade-off could have been made with more time devoted to the independence movement.
The acting overall is impressive and moving, even though some attempts to show his culture shock when he arrived in England to study law, being taught how to dance and play the violin, were a little slapstick.
The set is made of newspaper reports from Gandhi’s times: a period of extraordinary historic importance, World War II, India’s independence and Partition. The mood and import of the scenes are accentuated by the changing lighting that one sees through the set pieces.
The inclusion of live music and dance continues to enrich Naatak’s impressive productions. The dances are colorful and engaging, complementing the seriousness of the lyrics, set in South Africa in the early 19th century, and pre-Independence India. The music was extraordinary. Music Director Nachiketa Yakkundi and his troupe are jewels at the edge of the stage.
Performances continue for the next two weekends, with a special performance on Oct 2, 2019, the 150th anniversary of Gandhi’s birth. Tickets are available (if any are left!) at www.naatak.org.
This article was published in India Currents on Sept 28, 2019.
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