There are so many themes to explore in the city that it would be difficult in just one play.
After Dark looks at the lives of two women...
It’s two stories, side by side—a woman in her 50s whose husband leaves her and a young woman journalist, apparently successful. Ultimately, the older woman rebuilds her life, while the younger one crumbles.
How does this fit in with the earlier themes?
The first play looked at attitudes towards sex, while the second looked at the politics of property inheritance within families. These topics are constantly discussed and are changing.
Your father has been an icon in the theatre world, how has that affected you?
Luckily he had largely stepped out of the scene when I started directing. I dare say we share some similarities in style and approach, but we occupy different spaces in the theatre world.
How does the audience respond to this?
There’s a diversity of demand but places for experimental theatre are shrinking.
Can you give an example?
Epicentre, a great new place in Gurgaon, has opened because of the demand, and old places...well, like the Sri Ram Centre is haunted by bats and Kamani is far too expensive. Habitat is nice, but that’s just one space.
Is this an India-only phenomenon?
Worldwide theatre seems to be on a downward spiral for the last few years.
Do you think money plays a bad role, then?
It has a dual role. With funding comes new places and plays, but on the down side, it pushes for plays with stars rather than more experimental pieces that encourage new talent.
Does that have to do with a lack of writers?
Absolutely. We only have the National School of Drama, and they don’t teach playwriting. There’s a huge poverty of writers.
What is the hope of change?
There is talent, but basic economics leads them to jobs elsewhere. This has to change.
