In this exclusive interview, we explore the creative journey behind The Open Couple, a production by La Compagnie Dramatique, co-founded by Director Faraz Khan and Creative Producer Ragini Roychowdhury. The dynamic duo shares insights into their collaborative process, the challenges of modern theatre and their passion for bringing innovative stories to the stage.
Q Why this play? It does seem to get regular outings, with an Indian production popping up every few years. What do you think draws people to it? And what draws you to it?
A FARAZ: Dario Fo was one of the dramatists I studied way back in 2008/09, and The Open Couple stood out for reasons I didn’t fully understand at the time but have grown clearer with every encounter. Even during my first reading, I could vividly imagine The Commode—the central piece of our eventual production. I knew that if used intelligently, it would open up opportunities for inventive physical humour and simultaneously reinforce the play’s overarching themes.
What drew me to this text, above all, was how it made my imagination take flight. The aesthetic ideas it sparked in my mind had a certain coherence—a rare clarity I’ve often struggled to find with other plays or texts. This natural alignment between the script and my creative instincts was a major reason I felt compelled to stage it.
RAGINI & FARAZ: As for why others are drawn to it, Dario Fo and Franca Rame’s reputation as playwrights certainly plays a role—they have a knack for creating sharp, satirical works that endure across decades and cultures. The Open Couple is no exception: it brilliantly satirizes one of humanity’s oldest institutions, marriage. Its humour, relatability and incisive commentary on fidelity and gender dynamics resonate universally, keeping it fresh for every new audience.
Q We’ve seen your production seven or eight years ago. How different was this iteration for you? Seven years is a fairly long time, and especially with COVID in the mix, I’m sure you changed a lot. Did that reflect in your approach? Did you find yourself making different choices?
A FARAZ: For the most part, the text and the choices we made in the original production worked well. Our audiences enjoyed it, and there was no reason to change the core of what resonated. That said, there were a few places in the text where the conversations felt outdated or less relevant to contemporary audiences. We’ve refreshed those moments, adapting them to be more attuned to today’s world.
RAGINI: Interestingly, it wasn’t so much COVID that influenced this iteration as the rise of social media. Social media has drastically reshaped the way people express and experience relationships, including the dynamics within marriages. The traditional notions of partnership and fidelity have been reframed in ways that this production explores subtly but intentionally.
BOTH: One thing that has remained constant is our allowance for comic improvisations during the performance. We’ve always left room for the actors to break the fourth wall and engage with the audience directly, riffing on current hot topics. This element keeps the show engaging and unpredictable, ensuring that it feels fresh every time. These embellishments have evolved with each performance, and that playful dynamism is something we’re proud of—it keeps the satire sharp and immediate.
Q Ragini, you have a distinct role for a Creative Producer. Have you worked with as a producer before in the Theatre? What’s it like, and would you recommend it to other directors?
A RAGINI: This is my first experience as a Producer in Theatre, though I work extensively as a Director in the Advertisement Industry. The biggest difference between the two is the scale of resources. For Ad-Films, we often have bigger budgets and a wide range of tools at our disposal. In theatre, the challenge lies in working with a much tighter budget. Surprisingly, I’ve come to enjoy this constraint—it forces me to think creatively and make bold choices within limited means.
Another striking difference is the nature of the medium. Theatre is long-form and live, which comes with its own unique thrill. There’s an ephemeral beauty in bringing a show to life, knowing that it exists only in that moment for that particular audience. It’s a kind of magic that doesn’t translate in the same way to filmed or recorded formats.
Working in different roles and mediums inevitably leads to cross-pollination. The skills I’ve honed in advertising—efficiency, precision, and problem-solving—have proved invaluable in theatre. Conversely, the immediacy and intimacy of live performance have taught me things I can take back to my work in ads.
I would absolutely recommend that directors try their hand at producing. It gives you an invaluable perspective on the logistical and creative challenges of bringing a project to fruition, and ultimately makes you a more resourceful and well-rounded theatre maker.
Q What is La Compagnie Dramatique? It’s an incredibly exotic name. What’s the story behind the name?
A BOTH: Truth be told, there isn’t much of a story behind the name—we just liked the way it sounds! There’s something about the rhythm and elegance of the phrase that appealed to us when we were deciding on a name.
That said, it’s possible that the artistic innovation of the French New Wave and the remarkable artistry that has come out of France played an unconscious role in the choice. While we weren’t explicitly thinking about it at the time, the spirit of experimentation and bold creativity often associated with French art resonates with our approach to theatre.
Ultimately, though, the name reflects our aspiration to create work that feels both grounded and a little theatrical—something that invites curiosity and sparks the imagination, much like the productions we aim to bring to life.
Q Given the choice of play and the name of your company, I’m compelled to ask about your watching and reading habits. What’s that one film and/or book you go back to every now and then? Why?
A BOTH: We’re certainly drawn to the whimsical and the strange, which often reflects in the choices we make for our productions.
FARAZ: When it comes to films, I find myself revisiting the New Hollywood era of the ’60s and ’70s. It was a time when directors, rather than studios, reigned supreme, and the counterculture movement inspired some of the most groundbreaking storytelling and cinematic techniques. I wouldn’t say I have one particular film I return to, but I deeply admire what I think of as “pure cinema”—the artistry of filmmaking before the digital era. The work from that period still holds its weight in gold and continues to inspire.
As for books, one that has left a lasting impression on me is The Art of Looking Sideways. It’s a treasure trove of ideas, perspectives, and visual treats, and I find myself returning to it often. Beyond that, I try to read widely and without specific preferences, picking up whatever I can get my hands on. It’s my way of ensuring I’m not limited to things I already like—there’s always something to learn from unexpected places.
Q Back to The Open Couple... You have performed at Veda Kunba, then at Rangbhoomi Spaces in Hyderabad, and now you’re prepping for a run at Chaubara. How do you navigate spaces as different as these, as a director? Do you design plays to work in any venue from the start, or did it just work out with this play?
A BOTH: It’s always better to conceive of plays as something that can adapt to all kinds of venues. With The Open Couple, this was a deliberate choice. We wanted the production to have the flexibility to work anywhere—from an intimate living room setting to a large auditorium.
FARAZ: As a director, I involve my team in the decision-making process from the start. Once a venue is locked, we work backwards to identify the changes we’ll need to make—whether it’s adjusting the blocking, modifying entrances and exits, or even removing certain set pieces to fit the space. This collaborative approach ensures that by the time we start executing, we’re not caught off guard. Instead, we’ve already moulded the show to fit the unique demands of the venue.
This adaptability has become a core strength of the production, allowing it to retain its essence while still feeling fresh and responsive to the space it’s in.
Q The play deals with some complex themes and complex people—fidelity, betrayal, depression, suicide. Was the rehearsal process heavy or hard to navigate for anyone on the team? How did you deal with the material? Is that why you’ve used clowning as a central device?
A FARAZ: The clowning device was always intended to be a dampener of sorts. We knew that some sections of the text, if played straight, could feel overwhelmingly heavy. The clowning provided a kind of levity, even in the darker moments, allowing the audience—and us—to breathe. It became a way to approach the play’s heavier themes with a degree of detachment, without diminishing their impact.
That said, the rehearsal process wasn’t always easy. Some actors found certain scenes emotionally challenging, especially given their own life experiences and where they were with their relationships or partners at the time. Even though we were speaking the text in a mock-Italian accent and maintaining a comedic tone, real emotions often bubbled to the surface.
We were always careful to create a safe and supportive space where these emotions could emerge. As the director, I made it a point to be there for my actors—comforting them, listening to them, and ensuring they felt seen and heard. Strangely, those moments of vulnerability often led to a kind of catharsis. When we returned to the work after such instances, the weight of the material seemed lighter, and the actors were able to ease in and out of the heavier emotions with more fluidity.
BOTH: We were always careful to create a safe and supportive space where these emotions could emerge. We made it a point to be there for our actors—comforting them, listening to them and ensuring they felt seen and heard. Strangely, those moments of vulnerability often led to a kind of catharsis. When we returned to the work after such instances, the weight of the material seemed lighter and the actors were able to ease in and out of the heavier emotions with more fluidity.
Ultimately, the combination of a supportive environment and the use of clowning allowed us to navigate the complexities of the play while keeping its emotional core intact.
Q Language also plays a huge role in this play. The actors switch accents, syntax, and languages—often to laughter and/or groans. Is this deliberate?
A BOTH: Yes, absolutely—and for many of the same reasons mentioned earlier. The deliberate switching of accents, syntax, and languages is our way of “softening the blow,” so to speak. Given the weight of some of the themes in the play, we felt it was important to inject a playful, stylistic layer that could offset the intensity without undermining the core message.
This switching is a stylistic choice we imposed on the writing to achieve a specific effect. It adds an element of unpredictability, keeping the audience on their toes, while also creating moments of humor and absurdity that contrast with the play’s darker undertones. It’s another tool in our arsenal to engage the audience and invite them to experience the material from a slightly skewed perspective—one that allows for reflection without becoming too weighed down by the seriousness of the subject matter.
Q And finally, what’s next from La Compagnie Dramatique? What can we expect to see?
A BOTH: We love mixing things up—exploring all kinds of genres and creating pieces that challenge us to expand both our dramatic and aesthetic sensibilities. For us, if something can be easily achieved, it’s likely to be just as easily forgotten. So, we’re always on the lookout for novelty and complexity, searching for ideas that push boundaries and keep us growing as artists.
Without giving too much away, we can share that our next piece will likely be our most ambitious one yet. It’s a project that excites and terrifies us in equal measure, and that’s exactly the kind of energy we want to bring to the stage. Watch this space—we can’t wait to share it with you!
UPCOMING SHOWS
Check back in a few days for updates.
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