Minor health
complications, shifting to a new home and general laziness… just some of the
reasons the blog was inactive for a couple of months. But without further ado,
let’s get on with what this blog is here for… love for the performing arts.
A couple of
days ago, we got a chance to speak with Mohammad Zeeshan Ayyub. The talented
actor – a graduate from National School of Drama – has received rave reviews
for his performance in movies such as Tanu Weds Manu Returns and Raanjhana and
has an equally impressive line-up of films in his kitty, including Raees with
none other than Shah Rukh Khan. However, our interest in the young man was more
to do with his passion for theatre than for his big screen engagements. The
actor spoke to us about his new play Iss Kambakht Saathe Ka Kya Karein? and that
he was making a return to theatre after almost six years.
Mohammed Zeeshan Ayyub
We saw the
play on Wednesday night at NCPA. Directed by his wife Rasika Agashe, Iss
Kambakht Saathe Ka Kya Karein is the Hindi adaptation of the Marathi play
Sathecha Kay Karecha? written by Rajiv Naik. Zeeshan plays Abhay, a successful
ad-filmmaker whose biggest grouse in life is that Saathe, a documentary
filmmaker is more successful than him. Or so he feels. He vents out his feelings
as and when possible in front of his wife Salma (played by Rasika), an English
teacher by profession. The tensions and drama rests on the conversations and
play of words between these two diametrically opposite people. While Abhay
doesn’t let go of any opportunity to criticise Saathe, Salma’s reaction is to
enjoy the smaller moments of joy that life brings.
This dark
comedy relies much on the chemistry between the two principal characters and
that is where, we feel, the play scores. While Salma’s character sounds a tad
too preachy in the initial few conversations and the English dialogues a little
forced, the overall impact is that of a couple who enjoy each other’s company
and you look forward to the next scene and conversation. Without Abhay’s dry
wit and Salma’s light-hearted repartees, the play would have become too dark.
Mohammed Zeeshan Ayyub and Rasika Agashe
However,
there were some areas where the play could have done better and music is one of
them. In most places, the music is either too loud and drowns out the dialogues
and therefore, the impact they are meant to create. In others, the choice of
song has no connect with the situation. Some scenes, like the one in which
Salma starts crying or Abhay’s emotional monologue towards the end of the play,
feels a little out of place as there are no tensions created leading up to the
same. One is also left a tad dissatisfied as an audience at the end as the
resolution doesn’t feel like one.
