Waiting for Naseer: Srinivas Beesetty-directed ‘philosophical comedy’ focuses on aspirations and insecurities in theatre
Written by Sapan Saran, the 90-minute play is ready for its next show at Rangashankara on September 4
By Reema Gowalla
Naseeruddin Shah is a big name in the world of Indian cinema and theatre. So, when the poster of a play has the legendary actor’s name and portrait on it, one would unsuspectingly expect to see him on the stage too. However, in Srinivas Beesetty-directed Waiting for Naseer, things turn a bit tricky. Written by Sapan Saran, the 90-minute piece is described as a ‘philosophical comedy’ that revolves around two actors, who wait at Mumbai’s Prithvi Cafe, just to catch a show of their favourite actor’s new play. Following its premiere at Jagriti Theatre in July 2024, Waiting for Naseer is scheduled to be performed at Rangashankara on September 4.
Featuring actors Maulik Pandey, Maahir Mohiuddin and Naman Roy, the narrative goes back and forth between two characters, who may or may not be real people. As in, they might be alive or only two ghosts lurking around the iconic Prithvi Theatre in Juhu. They both desperately want to watch the play, but have only one ticket in hand. While waiting at the café, they laugh, cry and compete bitterly, trying to convince each other why they deserve to be inside the auditorium.
The ‘waiting’ here is used as an imagery, indicating the life of an actor, whose only aim in life is to shine on stage. In those moments, he “finds the ability to smile at his ephemeral existence”. Waiting for Naseer is a celebration of theatre, acting, passion and life itself, while it also looks at the challenges and insecurities that one faces while pursuing their dream.
Presented by Kahe Vidushak, in association with Molecule Talkies, Waiting for Naseer is also poised to be performed at the 2024 edition of the India Habitat Centre Theatre Festival in New Delhi. Light design for the play is done by Arun DT, while Chaitali Das is the assistant director and the poster is designed by Pragati. In a quick conversation with TheatreRoom, Srinivas spoke about Waiting for Naseer’s inspiration, the play’s narrative technique and whether or not Naseer saab is aware of its making. Excerpts:
Q. Waiting for Naseer sounds like Waiting for Godot. Was the Samuel Beckett masterpiece an inspiration for the play?
A. Yes, this play is loosely based on Waiting for Godot, in the sense that even here the plot is centred on two people who are waiting for a certain someone. They are quite static. In this case, sitting at a café, with the waiter being the only person interrupting their banter. But apart from that, nothing else in the narrative is similar to that of Waiting for Godot.
Waiting for Naseer is a comical take on the craft of theatre, one’s acting career in this field and how different people have different views on it. There are two kinds of actors in this sector — one who’s been around for a long time, has staunch beliefs, and then there are those who are relatively new and naive. They’re eager to act and consider theatre to be a great medium to showcase their talent, and eventually make it big in the field of acting. This play is about a conversation between two such people — one a veteran, the other a newbie.
Q. Tell us about the plot and narrative technique used in the play…
A. The situation is that they both are at Prithvi Theatre, waiting to watch a play of Mr Naseeruddin Shah. But there is only one ticket available, so only one of them can enter. They now have to prove themselves worthy for it. What’s tricky here is that these two people may or may not be alive. At this point, things might sound a little experimental in terms of production design, because it stretches the scope of the narrative to a parallel universe. So, on a philosophical level, the play celebrates the age-old craft of theatre and the people who live by it.
It navigates the banters and conversations between the two actors, punctuated by multiple comic relief moments. As a director, it was interesting for me to explore this particular genre of comedy. The play is written in a manner that it smartly weaves slapstick, buffoonery and tongue-in-cheek humour into physical theatre. That’s one of the reasons I decided on directing this play.
Q. You have described the play as a celebration of theatre. But does it in a way also expose the challenges and insecurities in actors’ life?
A. Absolutely, there is an element in the play where we look at our own insecurities and even laugh at our hypocrisy as actors. It can be in terms of struggling to afford things as an aspiring actor. Or as senior theatre practitioners considering themselves at par with Naseer, but still not being able to be in the limelight. The ego and the constant hunger are important aspects of the narrative. You think passion is what keeps you going. But then there comes a point in your life when you meet new people in the circuit and realise that you have become so mechanical as an artist that nothing functions from your heart anymore. Meeting this innocent new actor makes you feel guilty and also a bit jealous that the naivety or childishness no longer exists in you.
Q. Was it fun making the play with the actors?
A. Initially, it was a little complicated but things loosened up later. Maulik is a serious actor, one who has followed the works of Michael Chekhov and Jacques Lecoq, among others, and tries to apply all the methodologies while enacting a character. But somehow, his role in Waiting for Naseer didn’t click initially, as it was too technical for him. Maahir, on the other hand, would also do it with certain limitations. That’s when we started doing some improv activities, which helped them unbend and better understand the idea of comedy, comic timing as well as how an aspect of yourself also needs to be a part of the character you are playing. You need to be associated with it and bring in your element. Things got better when Naman entered the scene. So, it was a fun ride after that.
Q. Is Naseer saab aware that a play is being made in his name?
A. This play was written some time ago, and Sapan did inform him about it and took his permission to use his name. So, I suppose, Naseer saab is aware of it. It was his 75th birthday (July 20) when we opened the play at Jagriti Theatre, and we did invite him for it. I am thinking he knows of this production too, but not sure if he’s okay with the poster though. We have taken artistic liberty here.
Catch the new show of Waiting for Naseer at Rangashankara on September 4 (7.30pm). You can book your tickets here.
