Twin treats: Plays by Elkunchwar and Gokhale compel audiences to look within and without | Mumbai news

MUMBAI: This weekend, the city’s theatre lovers are in for a rare treat—two strikingly different yet equally compelling plays by two of India’s most celebrated playwrights, Shanta Gokhale and Mahesh Elkunchwar will be staged. Though close friends, their approaches to storytelling couldn’t be more distinct.

Elkunchwar’s works delve into the psychological and emotional conflicts of individuals. His plays, often marked by intense character studies and explorations of existential dilemmas, offer a deeply introspective experience. On the other hand, Gokhale, the masterful translator, writer and critic, examines social issues, gender, and the intricacies of human emotion. Her writing reflects a sharp sensitivity to the sociocultural fabric that shapes us.

This contrast will be on display as Mumbai audiences get the opportunity to witness both their works in close succession. While Elkunchwar’s ‘Autobiography,’ is a deeply layered play exploring themes of memory, identity, and the passage of time, Gokhale’s ‘Something Like Truth’ is a thought-provoking piece based on four monologues about truth and justice from women across the world.

Contrasting artistic philosophies

“Mahesh’s writing is like a scalpel—it cuts deep into the soul,” says theatre director and actress Lillette Dubey, who is reviving ‘Autobiography’ after 28 years. “I staged a few shows in 1996, but when my husband was transferred to Mumbai, I had to wrap it up. Though other plays and films kept me busy, I never got over how ‘Autobiography’ makes its characters wrestle with memories, choices and guilt. It’s like looking into a mirror that reveals internal fractures.”

Elkunchwar echoes her sentiment when asked if a play written 38 years ago still resonates. “While externalities change, the core of human nature hasn’t altered in 5,000 years. I write because I must. What the world does with it isn’t my concern at 85,” he laughs. “I’m drawn inward, not outward. The transient world doesn’t spark my creativity, but the steady, unchanging inner landscape does. That’s where the real mystery of life lies.”

It is perhaps this timeless quality that has seen ‘Autobiography’ adapted in Bengali (Soumitra Chatterjee), Kannada (Girish Karnad), Hindi (Vinay Sharma), Marathi (Shreeram Lagoo), and by drama schools and universities across the world.

Casting was another challenge for Dubey. “In 1996, we had Joy Sengupta, Salima Raza, Vinod Nagpal, Loveleen Mishra, and me. Once I found Denzil Smith for the lead this time — he’s really worked on becoming Rajadhyaksha, the protagonist — everything else fell into place.”

Gokhale’s lens on truth and justice

Gokhale’s work engages “more with the without than the within”. Years ago, she came across Émile Zola’s ‘J’Accuse…!’, the explosive open letter in ‘L’Aurore’ that exposed military antisemitism and defended an innocent captain, only for Zola himself to be imprisoned for libel. “That case inspired the first two monologues,” she recalls.

The third was inspired by Sri Lankan journalist Lasantha Wickrematunge, who predicted his own assassination for speaking out against the Tamil genocide. His posthumously published article became its foundation.

“In both cases, the majority’s voice was one of prejudice and hate. In this, I saw echoes of Gujarat,” reflects Gokhale. The fourth monologue emerged from the 2002 Gujarat riots, where a 16-year-old riot survivor was jailed for perjury. “I wondered what went through her mind in that prison cell. That question became the monologue.”

Director Parna Pethe discovered these monologues by accident while researching truth and justice. “I was looking for a play without a structured scene-character routine, and Shanta Tai’s monologues were just perfect,” she told HT. “Her writing doesn’t just tell stories—it questions, challenges and forces us to examine how society shapes lives.” That said, she admits the challenge of finding theatrical expression for a text-heavy work. “But that’s what drew me to direct it. And it helps that she is open to ideas—indulgent and generous to a fault.”

When asked about the political undertones of the play, Pethe says, “We aren’t fishing for controversy. The tone is all about compassion.” Gokhale adds, “It says what many people want to but don’t have the courage or articulation to do so.”

Elkunchwar’s philosophy of theatre fits perfectly here: “This is not a medium only to entertain. It should disturb, make you uncomfortable, and force you to not look away.”

Whether you are drawn to the psychological intricacies of Elkunchwar or the sharp social critique of Gokhale, this double bill offers two contrasting yet equally powerful narratives. For those attending both productions, this weekend promises a fascinating juxtaposition—one that reaffirms theatre’s power to reflect, question and challenge our understanding of the world.

(Elkunchwar’s ‘Autobiography,’ will be staged at the Royal Opera House, Girgaon, on February 2, at 7:30 pm, and Gokhale’s ‘Something Like Truth’, will be staged at the same time at Veda Kunba Theatre, Andheri, today.)