Like many of his generation of students of AMU, Habib was influenced by
leftist politics and this marked his political stance from then onwards, though
he threw away his party card very soon after he acquired it. Just before Habib
arrived in Bombay, the Indian People's Theatre Association (IPTA) had just
been founded. He immediately began to take part in its activities. They
rehearsed in a hall near Opera House and Habib acted in plays directed by Balraj
Sahni and Dina Pathak. I remember him telling us how they used to stage street
plays by pretending to be a pickpocket and a policeman quarrelling. The crowd
which collected had no idea that this was just a play and by the time they found
out and the real police arrived, the actors melted away. When the Communist
Party of India was banned many IPTA members were jailed or went underground.
From 1948-50, Habib was left with the responsibility of running the
organization. After which the doctrinaire Ranadive line made it impossible to do
anything worthwhile in theatre and the group became almost defunct.
In Bombay, Habib edited the English periodical of the Bombay Youth League,
which he sold on the pavements of Bombay as well. One of his earliest assistants
in this venture was the second person in my trio, my husband M.S. Sathyu. Sathyu
ran away without completing his studies in Bangalore and landed in Bombay in
1951. The only two people he knew in Bombay were Khwaja Ahmed Abbas and Habib
Tanvir, who also edited a film paper that Sathyu happened to come across in
Bangalore. Sathyu sought out Habib and they became friends and shared a flat
near Churchgate station. As IPTA had fallen apart and Habib's attempts to
become a filmstar weren't leading anywhere he decided to leave Bombay.
In 1953 Habib and Sathyu left to teach drama and art respectively in a
Montessori school in Delhi run by Mrs. Elizabeth Gauba. Indira Gandhi was a
close friend and her two sons attended this school while Habib was there.
Sathyu and Habib lived on the premises and became part of Mrs. Gauba's family.
She had a large circle of friends, including my mother Begum Qudsia Zaidi and
Habib managed to enthuse her about forming a professional theatre group. My
mother had grown up in Lahore and her brother-in-law Ahmed Shah Bokhari (Zulfiqar
mamu's brother) was one of the first people along with Imtiaz Ali Taj to stage
modern plays for Government College, Lahore, where he taught English literature.
She and Habib decided that they would start out by presenting adaptations of
European classics as well as Sanskrit dramas which, apart from Shakuntala,
were almost unknown in Hindi-Urdu theatre. She set about translating a number of
Meanwhile some friends in Jamia asked Habib to stage plays with a new group
they had formed. In 1954 he wrote Agra Bazar which was staged by him with
a group of villagers and amateur actors from Jamia. This was followed by a
dramatization of Premchand's Shatranj ke Mohre. Sathyu designed these
plays and did the lighting as well, before going back to Bombay to work with
It was in the winter of 1954 that I met Habib who used to come and visit my
parents. I was in the 9th standard in boarding school in Mussoorie,
and was in Delhi for my winter holidays. And I developed a terrible crush on
Habib about which he was faintly amused. I went back to school in spring and
later in the year Habib left for England to study acting in the Royal Academy of
Dramatic Arts and later direction in the Bristol Old Vic Theatre School. After
many months of a study tour which took him all over Europe, he returned to India
in 1958. Of this time, eight months were spent studying the plays of the
Berliner Ensemble, the theatre founded by Bertolt Brecht.
The influence of Brecht made him discard all that he had learnt in England.
He took to heart Brecht's dictum that theatre needs to be fun, like the
music-hall or football. Some of the Brechtian concepts had already been tried
out by him in his production of Agra Bazar and Shatranj ke Mohre
which were produced by the Okhla Theatre Group. But the example of the Berliner
Ensemble inspired him to use song and dance as part of the theatrical style. Use
of folk idiom had already become popular in Marathi and Gujarati plays staged by
IPTA, but Hindi-Urdu theatre had no such experiments until Habib came along.
By this time my mother had set up the Hindustani Theatre, and two plays Shakuntala
and Khalid ki Khala had been staged, both directed by Monica Misra. Habib
now decided to stage a musical version of Shudrak's Mrichchakatika as Mitti
ki Gaadi (translated by my mother). While the script was being polished he
went home to Raipur to visit his family. There he met a group of "nacha" style
folk actors of Chhattisgarh and was so impressed with them that he brought them
back to act in Mitti ki Gaadi along with a few Hindustani Theatre
full-timers. For this production Sathyu had called the poet Niaz Haider from
Bombay to write the lyrics. Habib had to bully and cajole Niaz Baba to produce
anything in a time-bound manner. But the final script was quite marvellous. The
play was a complete revolution for Delhi theatre goers. It was panned by the
critics as an insult to a Sanskrit classic, but the audiences seemed to enjoy
Later, the most outspoken critic of the production, Suresh Awasthi, became a
devotee of Habib's new style of theatre. My mother had a terrible argument
with Habib because of his use of folk actors. In a huff he left to form his own
group. Monica Misra, who originally resented being upstaged by Habib, had by
then fallen in love with him and she also left Hindustani Theatre along
with Habib. By then I had left for England and Germany to study stage and
costume design. When I returned in 1961 my mother had died of a massive heart
attack and the Hindustani Theatre Repertory Company had been disbanded.
Habib and Monica married and formed their own group, the Naya Theatre. The
Naya Theatre included a large number of nacha actors from Chhattisgarh plus some
enthusiastic urban acolytes of Habib. Another version of Agra Bazar was
produced by him using this combination of urban and folk actors. For many years
indulgent officials allowed Habib and Monica space in Delhi to house their
troupe in a government colony and they put up many memorable productions.
While Habib and Monika were working out their ideas using folk elements and
the nacha actors, Sathyu and I tried to keep the Hindustani Theatre going as an
amateur group. Sathyu staged my mother's translations of Brecht's Chalk
Circle and I decided to direct Mudrarakshas. Niaz Baba added the
recitative verses and songs for these plays. But halfway through Mudrarakshas,
he suddenly announced one day that he just had to go to Brindaban and we
didn't see him for four months. Habib then offered to complete the verses for
the play. Many years later he used the same script for his own production of the
Mudrarakshas. Habib continued his productions for Naya Theatre but we had
to wind up the Hindustani Theatre and leave for Bombay.
Four years later I returned to Delhi in connection with the Ghalib Centenary
celebrations in 1969. We commissioned a number of plays and other shows which
were performed as part of the Ghalib festival, including a splendid play by
Habib. For some reason the play was never repeated by him after that. Habib at
first continued with his mix of urban and folk actors but then decided to shift
to Bhopal and work only with his "nacha" actors.
Then we lost touch until 1974. Charandas Chor was staged by Habib as a
short play for a workshop in Jaipur, after which Habib worked with me on a
film-script for a film by Shyam Benegal, based on the same story for the
Children's Film Society. Habib later expanded the script into a full-length
play, and along with Agra Bazar it is the play most people remember him
for. Except for Smita Patil who played the princess all the other actors were "nacha"
performers from Habib's "Naya Theatre". Our cameraman Govind Nihalani would
get exasperated with them because the dialogues and acting for each take was
improvised and so did not match what had been shot earlier. The film was shot in
the style of the old Keystone Cops and Chaplin films and is still quite amusing.
It was after Charandas Chor that Habib's signature style was
recognized all over the country. And, as someone has said, he became a legend in
his own lifetime. One kept getting news of him from various people and read
about his victimization by the Hindutva forces; his being forced out of the
Repertory Company in Bhopal and the attempt
to ban his staging of Ponga Pandit. One story he used to repeat with
glee was his reply to the BJP minister Sikandar Bakht who advocated the cause of
"Urdu theatre" during a seminar. Habib told him there was no such thing as a
separate Hindi and Urdu theatre. They were the same. In any case, the minister
himself knew nothing about theatre, what he did know was how to destroy old
mosques and Habib was quite willing to give him a list of further mosques he
After Monica passed away in 2003 Habib could not continue with the same
vigour. But he still ate and breathed theatre till the last day of his life. The
2004 festival of many of his plays, staged at Prithvi Theatre, Mumbai, was like
a swan song. We met a few times during this festival and he reminisced about
Monika and the old days. Then a few months ago he came to Bombay for readings
from his forthcoming memoirs. Mahmood Farooqui read a few excerpts as Habib was
liable to get breathless, and Habib answered a few questions. His daughter Nagin
tells us that he had just got to the Monica part of the memoirs before he went
to the hospital, never to come back.
A shorter version of this piece appears in print
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