Came for the theatre. Stayed for the theatre.
- Vivek Madan
- May 14
- 7 min read
Updated: May 16
"There is no bigger gift than to have a director see your passion for the craft." Mallika Singh, long-time theatrewali and relatively new AkVariant, expounds.
Let's dive straight in. You began working with Akvarious last year, I think? Or was it two years ago now? What drew you to the play?
Honestly, I think I said yes to Akarsh more than the project itself. I had no idea what the play was about. We'd never collaborated before, and when he reached out again – after 'There's Something in the Water' didn't work out a couple of years prior – I was free and up for the adventure. This time, it was 'This Time' by AkVarious at Prithvi Theatre fest '23.
What is This Time about, for you?
For me, 'This Time' is Akarsh's most heartfelt love letter to time itself. Every theme resonated with me – we've all been there, done that, and felt those emotions. And because they can feel so mundane, we often overlook them. This play cuts through the noise, making the ordinary laugh-out-loud funny. What I love is how effortlessly Akarsh weaves it all together. When I finally got to read the full script, his honesty as a writer really stood out. We didn't know how the play ended till a few days before opening – exhilarating and a first for me!
Many groups develop a shorthand with their regular actors/crew. You stepped into a fairly well-knit team, most of whom have worked together for many years. Was that a concern before you signed on? I'm asking because this is a question many people ask themselves. Will I fit in? Will I like the people? Any of these cross your mind?
I didn't overthink it. I don't usually. The process is what excites me, so any worries about fitting in or what others might think took a backseat. When you're brought on board, you're already halfway 'fitted in' in a way. The rest falls into place once you start working together. Since I love working in theatre, my only concern would be if people were in the rehearsal room for the wrong reasons.
And then once you were in, what was it like? They're all nice people, but was there room for you? Did you have to work harder?
It was the warmest welcome ever. It didn't take me more than two or three rehearsals to feel all that love coming my way. It's the play and the energies I told myself. Each one is a unique item in this team and it's been two years now but it seems like it's been a lot longer because that shorthand has developed faster than I expected.
This Time is not an easy play. You and Adhaar form the spine of the plot. But everyone else gets to have a ton of fun with wigs and costume changes and funny voices and what not. Any FOMO there?
Not really. I don't think FOMO here is possible. Firstly, I cannot imagine doing what they do even if I tried. That is tough. Secondly, it's becoming a challenge and a nice one to power through all that. They keep getting better and we (Adhaar and I) really have to keep the balance going. I have started loving being thrown into the deep end with Adhaar. I think we've bonded over keeping a straight face through the madness and helping each other survive. I wouldn't trade that experience for anything (okay, maybe for a chance to wear Vivek Iyer's wig for one show.)
Moving to a slightly macro lens. You've worked with many of the current 'greats'. What is the quality you look for in a director, as an actor? Both before you sign on to a play and during the rehearsal process.
As an actor, you want to be seen. When a director truly taps into your strengths, beyond just intellectual concepts, I think that's a win. I have been blessed with the directors that I have the pleasure of working with - they make an effort to understand something about the performer in me. With some, I've found a language that helps me grow as an actor. There is no bigger gift than to have a director see your passion for the craft. When that happens, it doesn't matter what play you're creating, every little thing you're thinking about exercising in the rehearsal room starts coming to life with utmost beauty. I would love to continue hoping to see this in a director: genuine curiosity about a performer, how he/she thinks, and a willingness to tap into their creative process. I believe that allows the process to automatically become so nurturing, that as an actor you never want to stop performing.
You have mostly (I may be getting this wrong) worked with non-Indian texts. At best, they are adaptations. Is this a conscious choice?
It has not been a conscious choice but now that you've asked me this question, it is something to think about. In fact, the first few plays I performed were originally written texts and very indian. With time, the choices I made were more to do with the creators and their choices on the floor. Different creators have different forms and exploring those have become more interesting to me irrespective of the kind of texts they want to work with. Working different styles helps break patterns and keeps things fresh. You might not always love what you dive into, but it's a great way to experience the various ways a story can be told. It's a reminder that there's no one 'right' way to create – just different approaches that can be equally powerful.
What is your favourite contemporary Indian text? Not something you necessarily want to be a part of, but just to read or maybe even watch some day...
I haven't read enough to have a favourite, but the Indian playwrights I've engaged with – like Mr. Karnad, Badal Sircar, Vijay Tendulkar, and Mahesh Elkunchwar (in Shanta Gokhale's translations) were all so starkly different and yet so similarly charged. One piece I wish I had the opportunity to be a part of was Vijay Tendulkar's Sakharam Binder while Mr. Tendulkar was still with us.
Lately, I've noticed I haven't enjoyed recent adaptations of Indian contemporary works. The way these texts were staged, made sense back then. Today, I believe we need to break those shackles and find new ways to bring these texts to life. To keep reinventing ourselves theatrically, and not just rely on non indian texts when it comes to trying something out of the ordinary on stage.
Is acting your only in? I seem to recall that you were involved with O Gaanewali as a production designer? Am I getting that right? Say more...
I started out in theatre with Trishal Patel, handling backstage and production for two years before she encouraged me to take the stage. Since then, I've loved performing and I want to keep at it. With O Gaanewali, I initially helped with technical aspects, but my suggestions ended up shaping the show – and the team and audience seemed to appreciate it. Next thing I knew, I was the director. Now, Meghana AT and I co-direct, but honestly, our role is more about guiding the process, ensuring the script and lighting come together. The real magic happens because of the talented singers and musicians, they're the show.
Will we ever see you in the director's chair? Is that something you may be interested in? What sort of play would you want to make?
No idea! I haven't had the inclination to direct. It will take a whole lot of confidence in me to take on that role. I am enjoying performing and the productions that I have been a part of, have been fulfilling in that sense. I have had the space to have my voice heard in a room and am in no hurry to control the environment around me. I had a beautiful time assisting Mohit Takalkar's direction in The Nether. It felt great to be on the other side for a change. Given that experience, I think it also made me realise how direction requires a completely different skill set and that I'd like to be directed instead. Performing itself requires you to keep striving for more, I wouldn't want to juggle between the two at the moment. I find mixing mediums on stage very interesting, so if I were to ever direct a piece, I'd love to try that.
Is theatre and/or acting now a job? How do you stay inspired and curious? Life in the theatre can be difficult, underwhelming, downright depressing. What makes you look forward to it all?
Watching more theatre, reading about theatre, different kinds of theatre, spending time with my theatre colleagues during our time off stage, meeting my friends to read plays, watching rehearsed readings by Bhasha Centre, and the next show makes me look forward to it all!
And finally, what's your wish for Akvarious, for the next 25 years? Make it specific? :)
Another Microfestival at Year 50, may AkVarious continue to keep theatre alive, and hopefully then Pranav and Alisha can have the ending I want them to!
UPCOMING SHOWS
This Time
May 16 and 17 | 7.30pm
Rangshila Theatre, Andheri
About the weekend: Akvarious are celebrating 25 years of theatre. And while the anniversary is in December, we're doing loads of things all year long. One of the ambitious ideas is microfests, which are basically venue takeovers, where we do a whole of theatre and theatre related stuff and create a very packed weekend. The second one is this weekend at Bombay's newest auditorium - Rangshila Theatre. We're doing some theatre games, workshops, free events and discounted student passes as well. Swing by!
Comentários