May 2018

ON Stagevolume 7 • issue 10

Dr. Jamshed J. Bhabha Memorial Exhibition

The NCPA founder’s last legacy

Contents22

Features

08Reflections On Christopher Nolan’s love of celluloid film. By Anil Dharker

10 Dr. Jamshed J. Bhabha’s Last Legacy This month, the NCPA inaugurates the Dr. Jamshed J. Bhabha Memorial Exhibition, a collection of artefacts, rare photographs and stories from his illustrious family’s oeuvre

12 A Fine BalanceAhead of Summer Fiesta, the NCPA’s annual series of creative workshops in which children

are encouraged to find the artiste in them, we speak to successful businesspeople and corporate heads who have been shaped by their artistic pursuits. By Cynthia Lewis

18A Sublime MusicM. S. Subbulakshmi’s art graced the world, while her eyes sought the heavens. By Sivakami Sivakumar

22Tagore’s Many FacesAs three dance groups get ready to celebrate Rabindra Paksh at the NCPA this

NCPA ChairmanKhushroo N. Suntook

Executive Director & Council MemberDeepak Bajaj

Editorial DirectorRadhakrishnan Nair

Editor-in-Chief

Oishani Mitra

Consulting EditorEkta Mohta

Senior Sub-editorCynthia Lewis

Editorial Co-ordinatorHilda Darukhanawalla

Art DirectorAmit Naik

Deputy Art DirectorsHemali Limbachiya

Tanvi Shah

Graphic DesignerVidhi Doshi

AdvertisingAnita Maria Pancras

(advertising@ncpamumbai.com; 66223820) Tulsi Bavishi

(tulsi@mansworldindia.com; 9833116584)

Senior Digital ManagerJayesh V. Salvi

Published by Deepak Bajaj for The National Centre for the Performing Arts, NCPA Marg,

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Materials in ON Stage cannot be reproduced in part or whole without the written permission

of the publisher. Views and opinions expressed in this magazine are not necessarily those of

the publisher. All rights reserved.

NCPA Booking Office2282 4567/6654 8135/6622 3724

www.ncpamumbai.com

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month, we look at how Tagore continues to be relevant today. By Sindhuri Nandhakumar.

26Heads Will RollYuki Ellias’s META-winning play, Elephant in the Room, takes on the origin story of one of the city’s favourite gods. By Devanshi Shah

28‘Mozart Effect’ – The Myth and The RealityA partly sad, partly bizarre story of how Mozart (1756-91) suffered benign neglect for the better part of the 19th century, and how he was rehabilitated in the 20th century by Hollywood. By Manohar Parnerkar

32The Home of Jazz Exploring the journey of jazz at the NCPA and its roots in the city’s history. By Sunil Sampat

36The International Opera AwardsThe International Opera Awards are to the world of opera what Oscars are to the world of film. By Ashutosh Khandekar

38Vishnu Digamber PaluskarIn the second part of a two-part series, translated from the original Marathi by Kumud Mehta, P. L. Deshpande appreciates and questions the legacy of the man who changed Indian classical music forever

40Programme Guide

All of May’s events at the NCPA

50What’s NextWhat to look forward to in the coming months

We look forward to your feedback and suggestions. Please do drop us an email at onstage@ncpamumbai.com.

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INTERVIEW

A FINEBALANCE

Ahead of Summer Fiesta, the NCPA’s annual series of creative workshops in which children are encouraged to find the artiste in them, we speak

to successful businesspeople and corporate heads who have been shaped by their artistic pursuits.

By Cynthia Lewis

Manjul Bhargava, winner of the Fields Medal,

has credited the inspiration for his mathematical

research to an unlikely source: playing the tabla.

At the launch of a new educational initiative last

month, he quoted the late Steve Jobs, saying,

“Jobs had said ‘I worked very hard to find artists

and zoologists and musicians who also happened

to be excellent computer scientists.’ That is a

deep statement. It really means that you need

both sides of the brain to make progress in

this world.” As the NCPA gears up for Summer

Fiesta, it’s important to examine this idea at a

more personal level: does a balance between

the artistic and the analytical from a young

age truly make a difference? We speak to four

professionals at the top of their game to learn

more about how their passion for and

regular practice of the arts have

contributed to their success.

Mario NazarethClark Kent: Executive vice-president – corporate management services and group chief internal auditor, Mahindra & Mahindra LimitedSuperman: Piano player and conductor of the Cathedral Choir

Mario Nazareth grew up in a home filled with pianists: his father was a doctor and a pianist, and both his siblings were piano students. “My parents saw to it that I was able to successfully dovetail music with school studies. Academically, I did well, and on the music front, participated in a variety of entertainment programmes and competitions, and won awards in practically every event I participated in. As I look back, I realise that neither of my parents would, in their wildest dreams, have imagined that they were sowing the seeds for what has become such an inextricable part of my life today.”

After getting his licentiate diploma from the Trinity College of Music, London, for piano playing, he registered for the chartered accountancy course in India, and made up his mind to pursue accounts as a profession. “That is why I like to describe myself as an accountant by profession and a musician by choice.” Today he heads the internal audit team at corporate giant Mahindra & Mahindra, and was recently awarded the ‘(First) Internal Auditor of the Year’ award by the Institute of Internal Auditors, India. “I cannot, at any time, remember sacrificing studies for music, or vice versa. Both were given the importance they deserve, so much so that if I did not practise the piano for a couple of days the neighbours would comment.”

Once music was relegated to after-work hours, Nazareth discovered a flair for conducting and composing musical arrangements. “Things started working differently for me – I liked to teach. I was invited to take charge of the Cathedral Choir, making music together with them, getting the best out of them, several of whom have no formal education in music. And that’s where the greatest joy is.” The choir regularly performs at Saturday evening mass and on feast days, alongside stage concerts and

collaborations with the Bombay Chamber Orchestra. Today, Nazareth credits his parents for

understanding his musical prowess early. “Parents are ideally suited to spot talent and preferences, and accordingly, decide the kind of exposure that the child needs. There is a lot of research that confirms

that such initiatives make children more proficient in academics; it helps develop confidence and poise; they become more focussed; they learn to work with others; and find a great medium for self-expression. My advice to parents would be that having introduced your child to the arts, keep supporting them, as great perseverance would be required in the initial years. What you will be providing your child is not a passing fancy during their formative years, but education and values for a lifetime.”

“I like to describe myself as an accountant by profession and a musician by choice”

Kavitha RamuClark Kent: IAS officer, currently serving as director, department of museums, Tamil Nadu Superman: Bharatanatyam dancer and teacher

To Kavitha Ramu’s great fortune, her first talent scout and her mother were the same person. At age five, Ramu’s mother noticed her dancing around the house and enrolled her in Bharatanatyam. At eight, Ramu made her debut at the fifth World Tamil Conference. Later on, inspired by her father, a retired bureaucrat, she set her mind to following his footsteps. These two threads grew and blossomed through her life, weaving a rich tapestry that deepened in colour as time went by. “My early years were completely filled with dance, school and dance,” she says.

She continued her dedication through college, securing the sixth rank university-wide when she graduated in economics, even as she learned to play the nattuvangam (a rhythmic instrument that dictates the speed and cadence of a Bharatanatyam performance) to accompany senior dancers. While she pursued a post-graduate degree in public administration, the local papers were full of acclaim for her dance performances. And when the time came to embark on a career, she discovered there was no need to choose. “I did and I do have a career in dance. I had a dance school with over 75 students before I joined the civil service. Now for the past eight years, I have appointed someone else to teach the classes for beginners in my absence, while I handle classes on the weekends.”

After over two decades and 600 stage appearances as a performer, and 16 years in

the IAS, she’s found that the two areas of her life actively interact with each other to create a balanced whole. Her demanding job keeps her disciplined while her dance helps her manage stress. “Since dance has been so much a part of my life ever since I can remember, I have never found it difficult to pursue both. I try to use socially relevant themes in dance, which makes a connection with my area of work and society.”

DANCE

“My early years were completely filled with dance, school and dance”

NCPA May 2018 • 1514 • May 2018 NCPA

MUSIC

Rohit MalkaniClark Kent: Executive creative director (national), Law & Kenneth Saatchi & SaatchiSuperman: Theatre actor

If Rohit Malkani’s life was a play, a single encounter at the age of 12 would be the opening scene. His first public stage performance as the Duke of York in a production of Richard III in his hometown of Calcutta was where he met director Sumit Roy. “[Sumit was] in many ways, my mentor, my big brother.” Roy, a dedicated thespian who gave Malkani his first taste of the stage lights, was also an advertising executive, and this encouraged Malkani to join the profession himself. “I seriously began thinking of advertising only towards the end of school, or maybe the beginning of college,” he says.

In the last 24 years, Malkani has handled clients such as Sony Music, Unilever and Reliance Telecom, but not without first making a stab at devoting his life to theatre. “I did consider acting full-time. I got into Yale Repertory Theatre, but it was just too damn expensive in those days; you didn’t get scholarships for theatre. So I gave that up, but I always kept the theatre fire burning.” For instance, when he came onboard his current job, he was clear about his priorities. “When I joined Saatchi & Saatchi, I told my boss, Anil Nair, that once a year for just one month, I will leave the office at five every day, and that’s the condition on which I’m joining, otherwise I’m not.” Malkani calls acting his “retirement plan. Theatre is like soul food for me. Advertising is tiring, stressful, bad hours, deadlines, and this is like: you’re with a bunch of mad, happy thespians, and you just unwind”.

Malkani’s parents were always supportive of his acting, and it’s a practice he’s carrying forward with the next generation. “My

daughter is nine, and we try and introduce her to everything from music to dancing. We’ve always encouraged her to just explore, go see what it is and if it’s something she loves, she must [pursue it]. Because I just think it makes you a well-rounded person. It just exposes you to so much more. So, who knows? Maybe, one day she will take up acting or she won’t, but the idea is that we at least exposed her to it.”

“Advertising is tiring, stressful, bad hours, deadlines, and theatre is like: you’re with a bunch of mad, happy thespians, and you just unwind”

THEATRE

Bhavishya WadhwanClark Kent: Co-founder and CEO, 98fitSuperman: Sculptor

Delhi-based fitness entrepreneur Bhavishya Wadhwan manages to squeeze in a few hours for his after-work activities – cycling, drumming and sculpting – every day, even with a packed schedule. “I started sculpting during my initial years as an entrepreneur. I just stumbled upon this studio near my house and got really captivated looking at the human figurines created by artists in that studio. Back when I started, it was a very gradual process requiring a lot of patience as I had to take care of every fine detail while learning every [aspect] of the skill. I still remember: it took me three months to create my first sculpture of a hand.”

Wadhwan is a perfect example of how diversifying your skill set increases your chances of success in everything you try. From each of his passions, he gains a little something that boosts his all-round development. “Being involved in arts from an early age has a plethora of benefits, making it imperative for parents to introduce it to their kids. Learning the arts can help build your imagination and explore your mind like never before, giving you reasons to go beyond the conventional thought process. Pursuing an art is like a blessing as it becomes meditation and helps you find your true self.”

“Pursuing an art is like a blessing as it becomes meditation and helps you find your true self”

ART

NCPA May 2018 • 1716 • May 2018 NCPA

Vishnu Digamber Paluskar had set himself a particular aim – to create a taste for classical music among the educated strata. Digamber disciplined himself to carry out this task. At an early age he began the struggle to notate Indian classical music. In his Gayanacharya Pandit Vishnu Digamber, Professor B. R. Deodhar describes these efforts in great detail: the time and energy consumed by that simple song ‘Abaguna ne kijiye’ in raga Yaman. Digamber moved to the north, in the direction of Gujarat and Saurashtra, then to Gwalior, and from there to Mathura. He made a deep study of Hindi, particularly of Braj Bhasha. He sought the help of pandits and began to immerse himself in Sanskrit texts.

In Jodhpur, he made the acquaintance of a bandmaster named Mr. James, who had introduced him to Western modes of indicating musical notes through signs and symbols. Digamber compared this system with his own method of notation. By 1900, he had evolved his own system. His first books on the subject were published in Hindi and Urdu. And since Lahore boasted good printing facilities, he moved to the city. He decided, for the time being, to settle there. In the year 1901, Digamber took the first major step towards realising his ideal. A school for music was established in Lahore. Initially the response was poor. The city had no background in classical music. After a period of patient waiting, 25 students enrolled themselves for the course. But Digamber’s trials had only just begun. The news from his hometown was disquieting. His father lay critically ill, but Digamber refused to leave his post of duty; he deprived himself of the solace of a last meeting with his father.

Digamber demanded the same dedication from his students. They had to sign a nine-year bond, pledging to

devote themselves to the institution and its objectives. Their education and welfare became the institution’s responsibility. Our musical history can point to no other individual who took so much upon himself in the cause of classical music.

THE POLITICAL PLATFORMIt was a period of national awakening. In a pioneering spirit, Digamber introduced music on the political platform. He was a familiar figure at the sessions of the Indian National Congress. He set the music for ‘Vande Mataram’ and sang it before huge

meetings. A large crowd had gathered in Ahmedabad to catch a glimpse of Mahatma Gandhi. Their restlessness disappeared as soon as Digamber enjoined them to sing ‘Raghupati Raghav’ with him. The refrain was later to become a regular part of Gandhi’s prayer assemblies. As part of the national programme of self-reliance, Digamber set up his own training school to teach students to fabricate musical instruments. In 1905, he started the publication of a Hindi monthly, Sangitamritapravaha, devoted to the dissemination of his ideas on music.

SAFFRON TINGEThe Gandharva Mahavidyalaya was run on sound and systematic lines. A comprehensive curriculum and a regular time-table were evolved. Many of the words in the traditional forms of music had a touch of eroticism in them. The mood had to be altered because guardians would never have agreed to send their

sons, and particularly their daughters, to a music school where the accent was on the romantic. So to suit their needs, Digamber himself arranged the devotional music of Mira, Surdas, Nanak and Tulsidas within a classical framework. But quite soon, not just the words themselves, but even the style of music began to assume a ‘saffron’ tinge. In a sense, all this was inevitable. Digamber had set his heart on expansion, and expansion and development are by no means one and the same thing. Gradually the focus of activity shifted to Bombay. In 1908, an impressive building in the

very heart of the city became the centre of the varied responsibilities undertaken by the Gandharva Mahavidyalaya. Digamber was deeply admired and respected by the national leadership. Lokmanya Tilak himself visited the school and paid a warm tribute to his spirit of enterprise.

SPEAKING UPAnd, yet, paradoxically enough, it was not the Gandharva Mahavidyalaya, which succeeded in fostering a love of classical music among Maharashtrian audiences. These riches would have remained fenced in and hidden behind the obscurities of the lakshanageet and the intricacies of notation taught inside the Vidyalaya’s building. But fortunately for Maharashtra, classical music stole over audiences imperceptibly through the channel of natyasangeet. Ragas were recognised through the songs rendered by stage favourites such as Bal Gandharva or Master Dinanath. And since the source of this music was the rigorous classical background communicated to our musicians by Vazebuwa and Bhaskarbuwa Bakhle, the classical strain reached a wider public, in an unblemished and pure form.Compared to this more appealing style of music, the loaded programmes of the Gandharva Mahavidyalaya seemed very

Vishnu Digamber PaluskarON Stage brings you excerpts from the NCPA Quarterly Journal, an unsurpassed literary archive that ran from 1972 to 1988 and featured authoritative and wide-ranging articles. In the second part of a two-part series, translated from Marathi by Kumud Mehta, P. L. Deshpande appreciates and questions the legacy of the man who changed Indian classical music forever

ARCHIVES

much like a parade of the potentialities of Indian classical music. A mandolin duet, a violin recital, orchestral music and even drill formed part of the programme. The last hour or so was reserved for a music recital by Digamber himself. We are reminded of the steps of a performer. They move in rhythm – both during a dance and a parade, but there is a vital difference. During a dance recital, the artiste’s whole being sways to the rhythm of the music and the beat. A parade cannot be expected to fulfil such a dream; it is always linked with the idea of a drill. It disappoints. The pupils of the Gandharva Mahavidyalaya stayed aloof from the current of Marathi stage music. And if Marathi songs were ever composed on the basis of classical strains, they always had a devotional core. This was in keeping with Digamber’s ideas.

PROFESSIONAL GAIN, PERSONAL LOSSES Digamber’s life was dedicated not to winning renown for himself as an artiste, but to winning recognition in society for music and musicians. In pursuing this aim, he set aside all thought of personal loss or gain. He faced every kind of tribulation with dignity and courage. In his own lifetime he saw 11 of his children die; the only child to survive him was Bapurao (DV) Paluskar. And the promising career of this gifted artiste was cut short by his untimely death at the age of 34.

The large edifice of the Gandharva Mahavidyalaya which had symbolised Digamber’s dreams, was auctioned. “All the furniture and instruments have been sent to Nasik,” he wrote. It was like sending the last ashes to be immersed in the waters of the Godavari. Burdened by debt, he worked to the end to pay off his liabilities. He could not bear to even think of the stigma of irresponsibility attaching itself to an artiste and his name.

Towards the end of his life he turned more and more to the Ramayana. But even so, he retained his interest in new developments. In a letter to his disciple, Vishnudas Shirali (who was then touring Europe as music director in Uday Shankar’s dance troupe), Digamber spoke of his plans to visit the West. And when he found an enlightened disciple in B. R. Deodhar, he turned his attention to the concept and practice of “harmony” in Western music. His interest in musical norms stayed with him always. But even so, his last years seemed clouded by disillusionment. Though he continued his tours, his discourses on the Ramayana

occupied the major part of his activities. He went back to Miraj, the town from where he had set out to encompass a glowing ideal. He died there on 21st August, 1931, the day following Tulsidas Jayanti.

THE LEGACY What did he leave behind him? The chain of music schools which he had set up and the system of music education which he had formulated. More than to any other individual, we owe Vishnu Digamber a permanent debt for bringing about a radical change in society’s approach to music. This was a first and necessary step. But in the interests of artistic development, it ought to have been supplemented by other equally important movements. The Gandharva Mahavidyalaya centres in various parts of the country could have attracted musicians of different schools, and their pupils would have learnt a great deal from an exposure to more varied styles of singing. The one honourable exception in this respect is Professor

B. R. Deodhar who made it a point to invite artistes such as Shindekhan and Bade Ghulam Ali Khan to stay in his school premises and acquaint his pupils with their styles of music.

The Gandharva Mahavidyalaya could have used the whole apparatus of modern technology such as gramophone discs, radio and tape recordings to improve musical standards. More attention could have been given to individual talent and the potential of exceptional pupils. Instead, our traditional framework of music was replaced by another framework – the Gandharva Mahavidyalaya’s system. Digamber accomplished those difficult tasks that fall to the lot of pioneers. And this occasion, when we pay our heartfelt tribute to the really great measure of his achievement, should also become an occasion for self-examination and reappraisal.

This article first appeared in the NCPA Quarterly Journal in September 1972 (Vol. 1, No. 1).

Vishnu Digamber Paluskar

More than to any other individual, we owe Vishnu

Digamber a permanent debt for bringing about a radical change in

society’s approach to music

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Programme GuideMay 2018

THEATRE FILMS / SCREENINGS INDIAN MUSIC INTERNATIONAL MUSIC

PHOTOGRAPHY & EXHIBITION PRESENTATIONS & DISCUSSIONS DANCE MULTI ARTS

(Programmes are subject to change. Please check the website and refer to our emails for updated information.)

THEATRE

NCPA Summer FiestaChildren’s FestivalWorkshops, Plays & MoreSea View Room, East Room 1 & West Room 1Tuesday, 1st May to Sunday, 10th June

This year we celebrate the eighth year of NCPA Summer Fiesta. It is a community-minded festival designed to empower children by inspiring their imagination and broadening their creative minds through exciting, interactive play. This festival continually strives to provide new and unique opportunities for children to learn, play and be active. Local and national talent conducting the workshops will show an array of different skills, including acting, public speaking, dancing and writing. Summer Fiesta aims to promote the benefits and values of the performing arts not just by entertaining children but by getting them involved at the lowest cost possible. Through all the workshops, Summer Fiesta allows children the opportunity to be creative, gain knowledge and have fun.

For workshop registration, please call 66223822, 66223830, 7506890869 (Mon to Fri between 10.00 am and 6.00 pm), e-mail summerfiestancpa@gmail.com or visit www.ncpamumbai.com.

SCREENING

Luisa MillerBy Giuseppe VerdiOpera Screening (approx. 240 mins)Sung in Italian with English SubtitlesGodrej Dance TheatreWednesday, 2nd – 5.00 pm

An NCPA-The Metropolitan Opera (New York) Presentation

Set in the 19th century, Luisa Miller is an opera in three acts, which is conveyed through love, intrigue and poison. This opera is conducted by Bertrand de Billy, starring Sonya Yoncheva and Piotr Beczala as Luisa and Rodolfo; Olesya Petrova and Plácido Domingo as Federica and Miller; and Alexander Vinogradov and Dmitry Belosselskiy as Walter and Wurm.

Tickets: `600/- (plus GST)Box Office now open

THEATRE

IronEnglish Play (140 mins)Experimental TheatreThursday, 3rd – 7.30 pm

Josie is visiting her mother Fay for the first time in 15 years. She’s never walked into a prison before, where Fay is serving life for murder. They are haunted by memory, scarred by time. Can they remember enough to start over?

Directed by Arghya LahiriCast: Shernaz Patel, Dilnaz Irani, Meher Acharia-Dhar & Kenny Desai

A Rage Production

Age: 16+

Tickets: `450/- (Members)`500/- (Public)Box Office now open

INDIAN MUSIC

Baithak Unplugged Farooque Lateef Khan (sarangi)Accompanied by Yati Bhagwat (tabla)(approx. 120 mins)Little TheatreFriday, 4th – 6.30 pm

An NCPA Presentation Supported by ‘Bhargava’s Musik in the Service of the Arts’

Representing the fifth generation of distinguished sarangi players of Gohad, Madhya Pradesh, which includes Fazal Khan, Farooque Lateef Khan began learning music under his father Abdul Lateef Khan at the age of 12. The intense taleem he received is reflected in his thoughtful and virtuosic style. Yati Bhagwat started his tabla training under Amit Patkar of Ajrada gharana and continued under Suryaksha Deshpande in Farrukhabad and Delhi gharanas. This programme will be fully acoustic without any amplification.

Admission on a first-come-first-served basis. NCPA members will get preferential seating till 6.20 pm.

Luisa Miller, 2nd, Godrej Dance Theatre

Farooque Lateef Khan, 4th, Little Theatre

42 • May 2018 NCPA

THEATRE

Piya BehrupiyaHindi Play (130 mins)Experimental TheatreSaturday, 5th – 7.30 pm & Sunday, 6th – 4.00 pm & 7.30 pm

Having completed over 200 shows and after performing all over the world, this musical comedy adaptation of Shakespeare’s Twelfth Night is back in Mumbai. The show opened at Shakespeare’s Globe Theatre as a part of the Globe to Globe International Theatre Festival where it represented India.

Written by William ShakespeareAdapted by Amitosh NagpalDirected by Atul Kumar Cast: Mansi Multani, Geetanjali Kulkarni, Gagan Singh Riar, Amitosh Nagpal, Neha Saraf & others

The Company Theatre Production

Tickets:`540/- (Members)`600/- (Public)(Plus GST)Box Office now open

INDIAN MUSIC

Ye Nayan Dare Dare: Celebrating the Genius of Hemant Kumar With Sagnik Sen & Group (approx. 120 mins)Experimental Theatre Thursday, 10th – 6.30 pm An NCPA Presentation

This thematic presentation has been designed to enable uninitiated listeners to enjoy and appreciate the rich raga legacy of Hindustani music by associating a particular raga with a

corresponding raga-based film song. The song selection is based on melodies immortalised by the legendary playback singer-composer, Hemant Kumar Mukhopadhyay, popularly known as Hemant Kumar (1920-1989). For several decades, regaling audiences with haunting melodies sung in his rich baritone voice, Hemant Kumar not only excelled in Rabindra Sangeet but also went on to sing as well as compose for films in a number of languages. The list of his non-film songs is equally impressive. Trained in music under his father, Swapan Sen, Sagnik Sen has been hailed as the voice of Hemant Kumar. He has to his credit a large number of national and international performances of Hindi and Bangla film music, and Rabindra Sangeet. His rendition of the popular song, ‘Ye nayan dare dare’ recently won ‘The Akademia Music’ Award from Hollywood, in the category of best video cover song.

Compere: Shikha Biswas Vohra Tickets: `405 & 270/- (Members) `450 & 300/- (Public) Box Office: 26th April for Members & 29th April for Public

DANCE

Dramatic TalesMulti-dance Styles by Rasa UnitedDirection: Vanashree RaoAnantamanuraga Odissi by Debi Basu & Troupe(approx. 112 mins)Experimental TheatreFriday, 11th – 6.30 pm

An NCPA Presentation

Dramatic TalesSangeet Natak Akademi awardee and Kuchipudi exponent Vanashree Rao, along with her troupe, will present four tales: Abhimanyu Vadh, a choreographic exploration in three classical dance styles that portrays the tragic episode of the death of young Abhimanyu in the chakravyuh; Tripurasurasamhara, in which the three sons of the demon Tarakasura pray to Brahma to grant them immortality; Jyotirling, a performance describing the 12 jyotirlings of Shiva; and Mahishasura Mardini, inspired by Pandit Jasraj's composition, conceptualised to celebrate and offer an ode to the supreme mother, Durga.

Anantamanuraga Debi Basu is an eminent Odissi dancer and co-founder of Samyuktam. She imbibed this art form under the guidance of the great Odissi master Padma Vibhushan Kelucharan Mohapatra. She along with her troupe will present Anantamanuraga. The performance is themed around the

Sagnik Sen, 10th, Experimental Theatre

Debi Basu, 11th, Experimental Theatre

Vanashree Rao & Troupe, 11th,

Experimental Theatre

NCPA May 2018 • 4544 • May 2018 NCPA

blissful experience of love. It begins with an ode to the idea of love and builds into a celebration of life itself through dance. The eternal love of Radha and Krishna is explored through the narration of the Sakhi and the performance concludes with the Ananda Tandav symbolising the joyful union of the earthly with the divine.

Tickets:`270 & 180/- (Members)`300 & 200/- (Public)Box Office now open

INDIAN MUSIC

Music Mirror: Forever a Legend English Documentary on M. S. Subbulakshmi (115 mins)Little Theatre Friday, 11th – 6.30 pm

An NCPA Presentation Madurai Shanmukhavadivu Subbulakshmi (1916-2004), popularly known as M. S., was a legendary Carnatic vocalist whose name is etched in golden letters in the history of Indian music. Her appealing voice, crystal clear enunciation and expressions laden with devotion (bhakti) made her music truly divine. This biographical film traces the journey of the ‘Nightingale of Indian Music’ from a humble beginning in Madurai to performing at many national and international arenas including the UN General Assembly and becoming the first Indian musician to receive the Bharat Ratna, India’s highest civilian award. A series of interviews with people who had the privilege of watching her from close quarters, and some rare footage of her concerts including devotional renderings in Sanskrit, Hindi, Marathi and Bangla make the documentary interesting.

Directed by Rajgopal V. Produced by Films Division (2000)

Admission on a first-come-first-served basis. NCPA Members will get preferential seating till 6.20 pm.

INterNAtIoNAl MUSIC

All-Star Jazz Band(approx. 120 mins)Experimental TheatreSaturday, 12th – 7.00 pm

An NCPA Presentation

Versatile jazz vocalist Komal K. brings to the stage her talents as a jazz singer. She will also delve into the songbooks from rhythm & blues and soul to present a well-rounded jazz concert. Her All-Star Band comprises Cristos Yerolatsitis on piano, Nakul Mehta on tenor saxophone, Mario Menelaou on acoustic, upright bass and Saurav Ghosh on drums. Expect a wide range of jazz classics, both vocal and instrumental, at this concert.

Tickets: `750 & 500/- (plus GST)Box Office now open

SCreeNING

Bolshoi Ballet: The Flames of Paris Ballet Screening (approx. 135 mins)Godrej Dance TheatreTuesday, 15th & Wednesday, 16th – 6.30 pm

An NCPA-Pathé Live (Paris) Presentation

In the era of the French Revolution, Jeanne and her brother Jérôme leave Marseille for Paris in support of the revolutionary effort that is taking over the capital. While fighting for freedom, they both encounter love along the

way. Few ballets can properly depict the Bolshoi’s overflowing energy and fiery passion as can Alexei Ratmansky’s captivating revival of Vasily Vainonen’s The Flames of Paris. With powerful virtuosity and some of the most stunning pas de deux, the Bolshoi Ballet displays an exuberance almost too enormous for the Moscow stage.

Music: Boris AsafievChoreography: Alexei RatmanskyLibretto: Nikolai Volkov & Vladimir DmitrievCast: The Bolshoi Principals, Soloists & Corps de Ballet

Tickets: `600/- (Plus GST)Box Office now open

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NCPA Reality CheckLittle TheatreWednesday, 16th – 6.30 pm

In collaboration with the Cinema Collective 1

My Friend HusainHindi Film (71 mins)

The docu-feature is a journey that explores the multi-faceted, multi-talented M. F. Husain through the eyes of his friends and admirers across the globe.

Produced by Barkhaa Movies Pvt. Ltd.Written & Directed by Bhavana Sresth Cast: Barkhaa Roy, Jatin Sharma, Yash Ravi Misal, Kiara & others

Admission on a first-come-first served basis. NCPA members will get preferential seating till 6.20 pm.

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Sita – Mortal Life, Immortal Woman Bharatanatyam by Guru G.V. Ramani Natya Kala FoundationYoga in DanceOdissi by Rudrakshya Foundation(approx. 120 mins)Experimental TheatreThursday, 17th – 6.30 pm

An NCPA Presentation

Sita – Mortal Life, Immortal Woman Sita, a woman immortalised by her stoic courage and ownership of choice, a woman who established herself as an equal of Uttamapurusha Shri Ram. Senior disciples of Gayatri Subramanian, Bharatanatyam exponent and creative director of Guru G. V. Ramani Natya Kala Foundation, will present the story of Sita, depicting her journey

from a playful girl to becoming the wife of Rama, to being an assertive young woman who accompanies her husband to the forest, to being the ideal wife who rejects Ravana’s advances and even gives the agni pareeksha, and finally the courageous woman who chooses to prove her purity by renouncing her mortal form and returning to mother earth.

Yoga in DanceOne of the finest centres for culture and art in India, the Rudrakshya Foundation will present Yoga in Dance. Classical Indian dance has traditionally been viewed as a form of yoga. It shares with all forms of yoga the ultimate goal of moksha for both performers and audience. A mangalacharan (invocation to a deity) shares the passionate devotion which is the essence of Bhakti yoga. If an aspect of Hatha yoga is mastery of the physical body and coordination, then a pallavi (‘flowering’ or elaboration of form and rhythm) can be seen as a highly advanced form of this yoga. The complex sequencing of any dance requires the intense mental focus of Raja yoga. And abhinaya (acting or storytelling), utilising the navarasa (nine emotional flavors), allows the audience to experience the transformation of internal chemistry, which is essential in both yoga and ayurveda.

Tickets:`270 & 180/- (Members)`300 & 200/- (Public)Box Office now open

SCreeNING

A Woman of No ImportanceTheatre Screening (approx. 150 mins)Godrej Dance TheatreFriday, 18th – 6.00 pm

An NCPA-More2Screen (UK) Presentation

Olivier award-winner Eve Best (Hedda Gabler) and BAFTA-nominated actress Anne Reid (Last Tango in Halifax) star in this new classically staged production of Oscar Wilde’s comedy directed by Dominic Dromgoole, former artistic director of Shakespeare’s Globe. An earnest young American woman, a

louche English lord and an innocent young chap join a house party of fin de siècle fools and grotesques. Nearby lives a woman cradling a long-buried secret. First performed in 1893, Wilde’s marriage of glittering wit and Ibsenite drama satirised the socially conservative world of the Victorian upper class, creating a vivid new theatrical voice that continues to resonate today.

Tickets: `500/- Box Office now open

INDIAN MUSIC

HSBC-NCPA Promising Artistes SeriesZuheb Ahmed Khan (tabla)Kailash Kulkarni (vocal)(approx. 120 mins)Little TheatreFriday, 18th – 6.30 pm

This series features disciples being trained with Gurus supported by HSBC–NCPA CSR.

Zuheb Khan belongs to Ajrada gharana and had his first stage performance at the age of five at the Russian embassy with his father Naushad Ahmed Khan. He trained under his maternal uncle

M. S. Subbulakshmi, 11th, Little Theatre

M. F. Husain, 16th, Little Theatre

Komal K., 12th, Experimental Theatre

The Flames of Paris, 15th & 16th, Godrej Dance Theatre

Disciples of Gayatri Subramanian, 17th, Experimental Theatre

Zuheb Ahmed Khan, 18th, Little

Theatre

Rudkrakshya Foundation, 17th,

Experimental Theatre

Kailash Kulkarni, 18th, Little Theatre

NCPA May 2018 • 4746 • May 2018 NCPA

Akram Khan and grandfather Hashmat Ali Khan. At age 13, Kailash Kulkarni began studying Hindustani classical music under Vasantrao Phulambrikar. Under Narayanrao Bodas, he learned the Gwalior style of presentation, and is currently imbibing the nuances of the Agra gharana under Lalith J. Rao in Bengaluru.

Admission on a first-come-first-served basis. NCPA Members will get preferential seating till 6.20 pm.

INDIAN MUSIC

Training Sessions in DhrupadConducted by Umakant & Ramakant Gundecha Supported by their DisciplesWest Room 1Saturday, 19th – 10.00 am to 6.00 pm In collaboration with Dhrupad Sansthan Bhopal Nyas Dhrupad is the oldest surviving genre of Hindustani music. The tradition is reputed for following special training methods to groom facets like voice, breath control, pitch control and systematic delineation of composition. The NCPA offers a special opportunity to train with the internationally renowned exponents of this art form, Umakant and Ramakant Gundecha, and their senior disciples. Separate batches (2 hours each) are available for male and female students covering the following topics:1. Science of swara and raga2. Voice culture training for raga music3. Music and yoga – Nadayoga in dhrupad4. Study of laya and tala

In addition, one batch (2 hours) will be available for learning dhrupad compositions. The sessions will be conducted every month to maintain continuity.

Enrolment Fee: `1,000/- (plus GST) for one session of 2 hours.A limited number of registrations will be accepted.For enquiries and registration: contact 66223813 or write to us at ncpamusicworkshops@gmail.com.

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2018 Korean Film FestivalLittle Theatre19th & 20th May

In collaboration with the Consulate General of the Republic of Korea in Mumbai & Korea Foundation

My Love, My Bride(2014 / 111 mins)Saturday, 19th – 3.15 pm

An ordinary young Korean couple have recently married after a four-year-long relationship. Young Min is an ordinary husband and Mi-Young is a smart wife. Unlike their expectations of a happy marriage life, small troubles and conflicts arise and the dream of marriage starts to break apart. Young Min acts like a child and Mi-Young starts to get on her husband’s nerves. Can their married life become what they had expected?

Director: Lim Chan-SangWriters: Lee Myung-se, Kim Ji-hye, Min So-yeon, Yoo Seung-hee Cast: Shin Min-ah, Jo Jung-suk, Sang-hee Lee

Duresori: The Voice of East(2012 / 110 mins)Saturday, 19th – 5.45 pm

Seul-Gi and Ah-Reum are third-year students at the National High School of the Traditional Arts. During their summer break, the girls attend a special summer school. Meanwhile, the Education Bureau informs their school that they will take part in a chorus contest and the school selects Teacher Ham, a composer, to put together the school's chorus team. A conflict ensues between Ms. Ham, who majored in Western music, and the students whose major is traditional Korean music. Can the students compete in the chorus performance?

Director: Cho Jung-RaeWriters: Baekjong-Min, Cho Jung-RaeCast: Ahn Jae-hong, Hwang Seung-eon The King of Jokgu(2014 / 104 mins)Sunday, 20th – 2.15 pm

Hong Man-Sub is a college student majoring in food and nutrition. He falls in love with An-Na who takes an interest in Hong Man-Sub. Hong Man-Sub then plays a game of jokgu with Kang Min. Kang-Min has taken an interest in An-Na and is also a former Korean national soccer player. Hong Man-Sub wins the game and becomes a hero among the other students. The students also become crazy about the game of jokgu. The university then decides to hold a jokgu competition. Hong Man-Sub faces Kang-Min once again.

Director: Woo Moon-Gi Writer: Kim Tae-GonCast: Ahn Jae-Hong, Hwang Seung-Eon

Nameless Gangster: Rules of the Time(2012 / 133 mins)Sunday, 20th – 4.45 pm

Nameless Gangster depicts the clashes in the Busan underworld when the government declares its war against crime. Former public officer, Choi Ik-Hyun and crime boss Choi Hyung-Bae

sit in the centre of the maelstrom that sweeps the city. The two men then begin their partnership in earnest. Choi Ik-Hyun, with his uncanny ability to gain favours from those around him, and crime boss Choi Hyung-Bae, with his physical prowess as the head of a feared criminal organisation, are set to take over the Busan underworld, but will it last? Director: Yoon Jong-BinWriters: Yoon Jong-Bin, Han Dong-WookCast: Choi Min-Sik, Ha Jung-Woo

Admission on a first-come-first-served basis.

THEATRE

Elephant in the Room English Play (60 mins) Experimental Theatre Saturday, 19th – 5.00 pm & 7.00 pm

An NCPA Presentation

Master Tusk is a young boy who has been given a new head – an elephant’s head. Confused and bewildered, he finds himself lost in the forest. Amidst a cursed love affair, an encounter with an eccentric old elephant and a hunt for a missing head, Master Tusk sets off on an adventure that changes his life. Will he be able to carry his head on his shoulders? Winner of three META awards and part of the official India@UK2017 showcase at the Edinburgh Festival Fringe, Elephant in the Room is a quirky, poignant, coming-of-age story, inspired by the myth of Ganpati.

Written by Sneh Sapru

Conceived, Performed & Directed by Yuki Ellias

A Dur Se Brothers Production

Suggested Age: 10+

Tickets:`450 & 405/- (Members)`500 & 450/- (Public)Box Office now open

THEATRE

Treasure Island English Musical (70 mins)Godrej Dance TheatreSunday, 20th – 12.00 pm Young Jim Hawkins joins an oddly mixed crew aboard a ship, the HMS Hispanola, in a hazardous pursuit of lost treasure. The conflict between good and evil mounts and Jim courageously faces danger as he learns that evil may well masquerade as good. During his adventure Jim matures from boy to man, helped along by all the famous Stevenson characters – the good Doctor Livesey, the comical Trelawney, the sinister Blind Pew, the marooned Ben Gunn, the infamous Long John Silver, and a colourful crew of buccaneers.

Written by Robert Louis StevensonDirected by Vikash KhuranaCast: Amol Wakhare, Leo Leonard, Nitish Chandra, Sonal Trivedi-Malkan, Onkar Ghare & others Age: 10 +

Tickets: `450/- (Members)`500/- (Public)Box Office now open

THEATRE

The Woman on TrialEnglish/Hindi Play (110 mins)Experimental TheatreThursday, 24th – 7.30 pm

The Woman On Trial is an Indian bilingual adaptation of the famous play by Ayn Rand – The Night of January 16th. It is a play that makes one question the fundamental concept of what is right and what is wrong, it makes you wonder if it is right to

condemn a person only because they are different from everyone else.

Directed by Laura Mishra Cast: Laura Mishra, Navin Talreja, Prerna Talwar, Tanmay Ranjan & others

A Making Noise Production

Age: 15+

Tickets:`450/- (Members)`500/- (Public)Box Office: 26th April for Members & 29th April for Public

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Fresh Pix: Mom Hindi Film (146 mins) Little TheatreFriday, 25th – 6.30 pm

An NCPA Presentation

Arya's life changes when she is brutally gang-raped by a group of spoiled rich students from her school and two members of their house help. Her stepmother seeks justice and takes the help of a detective to teach the perpetrators a lesson.

Directed by Ravi UdyawarProduced by Boney Kapoor, Sunil Manchanda, Naresh Agarwal, Mukesh Talreja & Gautam JainCast: Sridevi, Nawazuddin Siddiqui, Akshaye Khanna, Sajal Ali, Adnan Siddiqui & others

Admission on a first-come-first-served basis. NCPA members will get preferential seating till 6.20 pm.

DANCE

Celebrating TagorePresentations by Srijon, Shahana & Pubali and Angik(Approx. 110 mins)

Ramakant Gundecha, 19th, West Room 1

Elephant in the Room, 19th,

Experimental Theatre

Mom, 25th, Little Theatre

NCPA May 2018 • 4948 • May 2018 NCPA

Experimental TheatreSaturday, 26th – 6.30 pm

An NCPA Presentation

The NCPA for the first time will host an evening of dance performances celebrating Tagore during his birthday month celebrations. The evening will showcase three performing groups presenting thematic works based on Tagore. They have been consistently practising and performing Tagore.

'Shur o dwani'By Kamalika Guha Thakurta’s Srijon

Srijon presents a bouquet of dances set to Rabindra Sangeet in which there is mention of musical instruments. The banshi, manjira, mardala, damaru and nupur find mention in Gurudev's songs and poetry, sometimes individually and at times adding up to create a universal sound that reflects Tagore's philosophy of life.

Robi’r Rongey – Tagore Through Colours and MoodsBy Shahana, Tagore Centre for Indian Music and Culture

A production that explores the association of colours with emotions and the mood it creates, through an innovative blend of Rabindra Sangeet, dance and poetry creating a show that stimulates, provokes and entertains.

Reminiscence and Reflection – with Ragas, Keertan & Folk from Tagore's SongsBy Pubali & Angik

Angik's Dr. Sarmishtha Chattopadhyay, an eminent Odissi and Rabindrik dance performer, has come up with the unique concept of performing on the works of Tagore focussing on reminiscences with ragas, keertan, baul and folk. She has jointly worked with Suchandra Dam of Pubali.

Tickets:`360 & 180/- (Members) `400 & 200/- (Public)Box Office: 26th April for Members & 29th April for Public

SCREENING

MacbethTheatre Screening (approx. 150 mins)Godrej Dance TheatreTuesday, 29th – 6.00 pm

An NCPA-National Theatre Live (London) Presentation

Shakespeare’s most intense and terrifying tragedy, directed by Rufus Norris (The Threepenny Opera, London Road), will see Rory Kinnear (Young Marx, Othello) and Anne-Marie Duff (Oil, Suffragette) return to the National Theatre to play

Macbeth and Lady Macbeth. In the ruined aftermath of a bloody civil war, ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness. Please note that Macbeth may contain scenes of a violent nature.

Tickets: `400/-Box Office: 26th April for Members & 29th April for Public

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Film Retrospective – Govind NihalaniLittle Theatre29th & 30th May

An NCPA Presentation

DrishtiHindi Film (171 mins)Tuesday, 29th – 6.30 pm Sandhya and Nikhil are a happily married, urban, professional couple. Coming from middle-class families, they have risen in their professional lives by virtue of merit and hard work. On their eighth wedding anniversary, a friend brings over his nephew Rahul who is a classical singer. Sandhya develops an attraction to him and they have a brief affair. After about a year, Nikhil falls in love with Vrinda, his assistant in the lab. Sandhya is shattered and they part. Four years after the divorce they meet again, and Sandhya mentions her affair with Rahul. The film has won the National Film Award for Best Feature Film in Hindi in 1990. Written by Govind Nihalani & Shashi DeshpandeDirected by Govind NihalaniProduced by Udbhav ProductionsCast: Dimple Kapadia, Shekhar Kapur, Irrfan Khan, Mita Vasisht & others

Hazaar Chaurasi Ki MaaHindi Film (152 mins)Wednesday, 30th – 3.00 pm

Sujata is a quiet, devout Hindu, a religious and compassionate woman. Her son Brati has finished school and is now attending college. Her family is shattered in the early hours, when they are informed by the police that Brati has been killed. They know now that their lives will never be the same again – for they will be called the mother and father of corpse No. 1084. As Sujata struggles to understand Brati's passing, she delves deeper and deeper into his former life, and she begins to understand her son's struggle, and decides to continue to further it. The film won the National Film Award for Best Feature Film in Hindi in 1998.

Written by Mahasweta Devi (Novel), Govind Nihalani (Screenplay) & Tripurari Sharma (Dialogues)Directed by Govind NihalaniProduced by Manmohan Shetty & Govind NihalaniCast: Jaya Bachchan, Anupam Kher, Joy Sengupta, Nandita Das, Seema Biswas, Milind Gunaji & others Ti Ani ItarMarathi Film (102 mins)Wednesday, 30th – 6.15 pm

Anirudh Godbole and Naina are a contemporary upwardly mobile middle-class Maharashtrian couple. They stay with their two daughters in a comfortable flat in suburban Mumbai. Anirudh has a well-paying job in a corporate firm and Naina is a rising singer. They invite few of their close friends over dinner to celebrate the release of Naina's music album. The evening begins on a very pleasant and relaxed note, before they witness a crime being committed in the neighbouring building and the evening turns into a moral hell for all. The film won the best film jury award at Lifft India Filmotsav, World Cine Fest, Lonavla 2017.

Screenplay & Dialogues by Shanta GokhaleDirected by Govind Nihalani Cast: Subodh Bhave, Sonali Kulkarni, Amruta Subhash, Priya Marathe & others

There will be a Q & A session with Govind Nihalani after the 6.15 pm film. Admission on a first-come-first-served basis. NCPA members will get preferential seating 10 minutes before the show.

SCREENING

CendrillonBy Jules MassenetOpera Screening (approx. 192 mins)Sung in French with English SubtitlesGodrej Dance TheatreThursday, 31st – 6.00 pm

An NCPA-The Metropolitan Opera (New York) Presentation

Massenet’s enchanting opera Cendrillon, based on the Cinderella story, premieres at the Met conducted by Bertrand de Billy in a staging by Laurent Pelly. It features Joyce DiDonato as Cinderella, Kathleen Kim as the Fairy Godmother, Alice Coote as Prince Charming, Stephanie Blythe as the evil stepmother Madame de la Haltière, and Laurent Naouri as Pandolfe. This production was first performed at The Santa Fe Opera in 2006.

Tickets: `600/- (plus GST)Box Office: 26th April for Members & 29th April for Public

daNCE

NCPA UmangExtracts from Older WorksKathak by Minhaz & Gaurav Bhatti(approx. 70 mins)Little TheatreThursday, 31st – 7.00 pm

Renowned Kathak exponent Aditi Mangaldas’s disciples, Minhaz and Gaurav, will present Extracts from Older Works. Minhaz is the senior-most repertory member of the Aditi Mangaldas Dance Company – The Drishtikon Dance Foundation and has secured a diploma Hons. in Kathak from the National Institute of Kathak Dance, Kathak Kendra, New Delhi. Gaurav Bhatti, a repertory member at Drishtikon Dance Foundation, has performed at various places across the world.

Admission on first-come first-served basis. NCPA members will get preferential seating till 6.50 pm.

Kamalika Guha Thakurta, 26th, Experimental Theatre

Anusree Bonnerjee, 26th, Experimental Theatre

Sarmishtha Chattopadhyay, 26th, Experimental Theatre

Cendrillon, 31st, Godrej Dance

Theatre

Govind Nihalani, 29th & 30th, Little Theatre

Minhaz, 31st, Little Theatre

Gaurav Bhatti, 31st, Little

Theatre

NCPA May 2018 • 5150 • May 2018 NCPA

INDIAN MUSIC

Sahela Re – Ek Sawai SwaranubhavCelebrating the Musical Heritage of Bhimsen Joshi & Kishori Amonkar With Aarya Ambekar & Prathamesh Laghate Experimental Theatre Friday, 1st June – 6.30 pm

An NCPA Presentation

Aarya Ambekar and Prathamesh Laghate will present several bandishes including khayal,

thumri, dadra, bhajan, abhang, ghazal, natyageet

and bhavgeet immortalised by Bhimsen Joshi and Kishori Amonkar.

Narration: Vinaya Soman Concept, script, direction & production: Yogesh Ambekar

Tickets: `360 & 315/- (Members)`400 & 350/- (Public) Box Office: 9th May for Members & 12th May for Public

DANCe

Utkarsh SeriesNew Directions in Odissi DanceLecture-demonstration by Poushali Mukerjee Godrej Dance TheatreSaturday, 2nd June – 5.00 pm to 6.00 pm

An NCPA Presentation

Renowned Odissi dancer and percussionist Poushali Mukerjee has trained under the legendary exponent Kelucharan Mohapatra. She is the recipient of the Kal Ke Kalakar Award and has also received the Lifetime Achievement Award from Odissi International in 2017.

Tickets:`90/- (Members) `100/- (Public)Box Office: 9th May for Members & 12th May for Public

DANCe

Divya Trilogy Conceptualised by Usha Rk Experimental TheatreSaturday, 2nd June – 6.30 pm

An NCPA Presentation

A trained Bharatanatyam dancer, arts consultant/critic for over three decades, Usha Rk has conceptualised the Divya Trilogy, which will be performed by young performers through multiple dance forms. Divya Trilogy will explore Divya Astraa (Divine Weapon), Divya Vahana (Divine Vehicle) and Divya

Pushpam (Divine Flower).

Tickets:`360 & 180/- (Members)`400 & 200/- (Public)Box Office: 9th May for Members & 12th May for Public

SCReeNING

Lady Windermere’s FanTheatre Screening (approx. 150 mins)Godrej Dance TheatreFriday, 8th June – 6.00 pm

An NCPA- More2Screen (UK) Presentation

A new production of Oscar Wilde’s social comedy, Lady Windermere’s Fan, directed by award-winning writer, actor and director Kathy Burke, with Olivier award-winning actress Samantha Spiro as Mrs. Erlynne, Kevin Bishop as Lord Darlington, and guest starring Jennifer Saunders as the Duchess of Berwick. It is the day of Lady Windermere’s birthday party, and all is perfectly in order. Until her friend Lord Darlington plants a seed of suspicion. Is her husband having an affair? And will the other woman really attend the party?

Tickets: `500/- Box Office: 9th May for Members & 12th May for Public

INDIAN MUSIC

Kaushiki Chakraborty with Mame KhanHindustani Vocal Music Recital Tata Theatre

What’s NextJUNE & JULY 2018

(Programmes are subject to change. Please check the website and refer to our emails for updated information.)Friday, 8th June – 6.30 pm

An NCPA Presentation Kaushiki Chakraborty and Mame Khan will present, individually and together, semi-classical and folk songs, highlighting a close association between the two traditions. The recital will also showcase folk instruments like dholak, kamancha, kartal, morchang and bhapang.

Tickets: `600, 450 & 300/- (Members)`800, 600 & 400/- (Public) (Inclusive of GST)Box Office: 9th May for Members & 12th May for Public

INteRNAtIoNAl MUSIC

Michael Stuart Asia TourSalsa (Latin Music) Concert Tata TheatreFriday, 15th June – 7.00 pm An NCPA Presentation

Michael Stuart is considered one of the most versatile singers in the Latin music industry. The Puerto Rican singer has two Latin Grammy nominations in the categories of Best Contemporary Tropical Album and

Best Urban Song. Winner of several important industry awards including Lo Nuestro, Premios Tu Música, Paoli awards among others, he has shared platforms with some of the biggest singers in the industry such as Marc Anthony and José Feliciano.

Tickets: `1,000, 800, 500 & 300/- (plus GST)Box Office: 9th May for Members & 12th May for Public

INteRNAtIoNAl MUSIC

4 on a SwingJazz Concert Experimental TheatreFriday, 29th June – 7.00 pm An NCPA Presentation

4 on a Swing is a quartet playing improvised jazz swing music. The band was India’s only representative at the Panama Jazz Festival in January 2018, where other attendees included Wayne Shorter, Danilo Perez, Chucho Valdés and others. The band comprises “Paddy” Manot on piano, Sanjeeta on vocals, plus an upright bass and drums.

Tickets: `750 & 500/- (plus GST)Box Office: 26th May for Members & 29th May for Public

SCReeNING

An Ideal HusbandTheatre Screening (approx. 150 mins)Godrej Dance TheatreThursday, 12th July – 6.00 pm

An NCPA- More2Screen (UK) Presentation

Oscar Wilde’s entertaining and still topical play brings an act of political sin into the heart of the English home. As an ambitious government minister, Sir Robert Chiltern’s smooth ascent

to the top seems assured until Mrs. Cheveley appears in London with damning proof of his previous financial chicanery. Tickets: `500/- Box Office: 9th June for Members & 12th June for Public

SCReeNING

Bolshoi Ballet: CoppéliaBallet Screening (approx. 165 mins)Godrej Dance TheatreTuesday, 17th & Wednesday, 18th July – 6.30 pm

An NCPA-Pathé Live (Paris) Presentation

Swanhilda notices her fiancé Franz is infatuated with the beautiful Coppélia who sits reading on her balcony each day. Nearly breaking up the two sweethearts, Coppélia is not what she seems and Swanhilda decides to teach Franz a lesson. The company’s stunning corps de ballet shines in the divertissements and famous “dance of the hours”, and its principals abound in youthful energy and irresistible humour in this effervescent production.

Music: Leo DelibesChoreography: Sergei VikharevLibretto: Charles Nuitter & Arthur Saint-LeonCast: The Bolshoi Principals, Soloists & Corps de Ballet

Tickets: `600/- (plus GST)Box Office: 9th June for Members & 12th June for Public

DANCe

Chaturang Ki ChaupalKathak by Shama Bhate & TroupeExperimental TheatreSunday, 29th July – 6.30 pm

An NCPA Presentation

Renowned Kathak danseuse Shama Bhate’s work spans over 35 years as a performer, teacher, choreographer, artistic director and thinker. She is the recipient of the Maharashtra Rajya Puraskar and director of a unique institute – Nadroop, based in Pune. She has conceived and choreographed Chaturang Ki

Chaupal.

Tickets:`360 & 270/- (Members)`400 & 300/- (Public)Box Office: 26th June for Members & 29th June for Public

Prathamesh Laghate, 1st June, Experimental Theatre

Aarya Ambekar, 1st June, Experimental Theatre

Usha Rk, 2nd June, Experimental Theatre

Michael Stuart, 15th June, Tata Theatre

Paddy Manot, 29th June, Experimental

Theatre

Kaushiki Chakraborty with

Mame Khan, 8th June, Tata Theatre