Waiting for Naseer review: Cracker of a comedy, but not without a subliminal message
Written by Sapan Saran and directed by Srinivas Beesetty, the play features Maulik Pandey, Maahir Mohiuddin and Naman Roy in the lead
By Reema Gowalla
Rating: *** and a half/5
What makes a play entertaining for the common audience? A compelling story, engaging performance, snappy dialogues (possibly, even a thudding monologue), quirky music and an appealing backdrop. These optics can swiftly change if the poster flaunts a rust-hued caricature of Naseeruddin Shah. Then, you enter the auditorium anticipating to see the legend himself on stage or come upon some trenchant anecdotes about his larger-than-life career in theatre and cinema. Written by Sapan Saran and directed by Srinivas Beesetty, Waiting for Naseer is all of the above, save one. It’s a cleverly written script that borders on hero-worshipping, only to shed light on the grim fate of many aspiring playwrights and theatre actors who spend months and years polishing their craft, yet cannot afford a ticket to the show of their favourite actor.
The play begins at the cafeteria of the iconic Prithvi Theatre in Mumbai. Two actors Anmara 0A0A (Maulik Pandey) and Anmara 1B1B (Maahir Mohiuddin) — one a bit more experienced than the other — gather to have a quick confab with Naseer saab, or so they assume. But there’s only one ticket available, kept in the custody of an ingenuous waiter (Naman Roy, who is also an assistant director of the play), who takes interest in the spoken word. The two actors instantly turn antagonistic, in a bid to prove oneself more deserving than the other to meet the legend. One may see this as a testimony to the acclaimed actor’s illustrious oeuvre, and how his craft has inspired generations of actors. But the play is less about becoming Naseer and more about what an aspiring artist has to go through just to find a footing under the spotlight. While addressing the existential questions, Waiting for Naseer relies on a rather philosophical and poetic undertone that decodes the tribulations of dream and fandom. The plot pits two people, who may be dead or alive, against each other as they jostle between envy and empathy while repeatedly trying to reinstate their love for theatre, and Naseer.
Layered but never conflicting, Waiting for Naseer is a thoughtfully penned genre-splicing narrative profusely punctuated by humour and repartee. Sitting in the audience, you may find yourself laughing and clapping at every turn of events, only to realise moments later the vulnerabilities and depths of human emotions that the story unassumingly touches upon. Why is it that we’re recurrently driven by a dream, which is almost always impossible to achieve? As they say, ‘the journey is more important than the destination’, is it okay if we only desire our goal?
A conversation that begins with debating the upside of attaining moksha or turning a bhoot, as opposed to that of being an anmara, summarises into an act of unending wait for the legend. Their half-enraged and mostly funny scuffle between the two central characters is peppered with measured yet clever digs at the frenzied trend of Shakespearean and Beckettian adaptations, and the fading away of original scripts. Turns out, seasoned actor Anmara 0A0A has a magisterial knowledge of the many theatre greats, whose works he studied all his life, yet could never land a meaty role for himself in a play. On the other hand, Anmara 1B1B, who too aspired to shine in the world of theatre, couldn’t make it to Prithvi the day he was supposed to take the stage. Heartbroken and disgruntled, the desolate souls are now lurking around Prithvi. How big stars can cast a shadow on small actors form a crucial theme in the play. While the two characters bitterly flaunt their encyclopedic knowledge of the phenomenon that is Naseeruddin Shah, in the hindsight they also critique their inspiration.
Featuring rolled-up bamboo blinds, a time-worn centrepiece, folding chairs, a tiny bookshop on the side and a noticeboard lined with a string of lights, the set (designed by Srinivas, Naman and assistant director Chaitali Das) does manage to tastefully replicate the well-loved premises of Prithvi Theatre. Light design (by Arun DT) also deserves a special mention here. It brilliantly dovetails with the play’s comic moments. From ‘mask nikalna’ and ‘ankh, kandha, sharir’ to ‘flower ko Hindi mein kya bolte hain’, the piece serves a generous dose of whimsical, rib-tickling instances during the 80-minute runtime.
Competing or poking fun at one another, both Maulik and Maahir have put up a fascinating act together. They have not only aced their comic timings but have also masterfully portrayed a range of emotions, which otherwise may seem difficult to achieve in a comedy play. Naman’s naive yet instantly captivating cameo is the cherry on top. In fact, the waiter’s performative poetry piece ‘Sapna dekha Ghasita Ram ne…’ is the accidental hero of the show.
Produced by Kahe Vidushak Foundation, in association with Molecule Talkies, Waiting for Naseer is funny, pulsating and unbelievably relevant in today’s time. As a director, Srinivas has sensibly helmed a piece that’s delicate at several places yet fully conscious of what it wants to convey. Not at any point, the play dwarfs compassion to highlight the significance of chasing a dream, while it also teasingly exposes the cowardice and hypocrisy of mankind. A little more depth in performance and a few silences could have made the show a better watch. But all in all, Waiting for Naseer is a superb satire, one that is not without a subliminal message. PS. Don’t miss the helium balloons tied to the sneakers!
Catch the upcoming Mumbai shows of Waiting for Naseer at Harkat Studios as part of Jairangam Fringes on January 25 (8pm), at Kala Ghoda Arts Festival on January 28 (7.30pm) and at Rangshila Theatre on January 29 (6pm and 8pm).
