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Geofrey Kendal as Shylock and Laura Liddel as Portia |
A
piece by Sanjna Kapoor in the Indian Express a few weeks ago took my mind 55
years back when I was doing Intermediate. In those days, there were no higher
secondary classes; we were in 10+2 system – one had to do intermediate after
matriculation and before graduation.
Sanjna, as is largely well known, is the
daughter of Shashi Kapoor and Jennifer Kendal, both being steeped in the
tradition of theatre. Sanjna runs the Prithvi Theatres established by her
grandfather Prithviraj Kapoor who would call it Prithvi “Jhonpra”, (hut). She
wrote the piece eulogizing Prithviraj Kapoor and Geoffrey Kendal, grandfa- ther
from her mother’s side on behalf of “Not In My Name” as a measure of protest
against the current intolerance that is all too visible in Indian society.
Sanjna”s
reference to her paternal grandfather reminded me of the day when Prithviraj
Kapoor visited our Victoria College in Gwalior sometime in the early 1950s. Our
Principal was one Prof. DN Bhalla, a Cambridge graduate, who used to know
Prithviraj and had invited him to the College to speak to the students. The
impressive Union hall was overflowing with boys and girls. Prithviraj arrived
in his trademark white kurta-pyjama with a black shawl draped round his neck.
He looked every inch a man from show-business. Tall like most Pathans, he was
very well built and had a very handsome and expressive face.
His
address was full of humour. Speaking in English with an educated accent, he
floored everybody in the audience. The boys knew that while he was a renowned
Hindi theatre artist he was also very good in enacting English plays,
especially those of Shakespeare. Soon enough there was a request for him to
recite the cry for revenge from Shakespeare’s play “Othello”. And he readily
obliged. I still remember how the word “revenge” that was uttered twice in high
pitch with the last ending up at a very high pitch. It became more effective
because of Prithviraj’s booming voice.
Though
those were the sunset years for the travelling theatre, he was still going
strong travelling III class with fifty to sixty artists with all the props.
Having migrated from Punjab in the early years of the 20th Century
he joined the fledgling Indian film industry during its “Silent era”. A
handsome man as he was, he was highly successful in the world of celluloid.
However, by 1944 he temporarily gave up his film career and took to his first love
– theatre. He produced some politically and socially relevant plays. His was a
travelling theatre mainly to inspire the audiences to participate in the Indian
Independence Movement.
A play depicting Hindu-Muslim unity called
“Pathan” was highly successful and was reported to have been staged more than
600 times in Bombay (now Mumbai) alone. Along with “Deewar”,
“Ahooti” and “Gaddar” the plays constituted the “Partition Quartet” in which Prithviraj not only displayed his prescience in so far as the consequences of Partition were concerned, he also fervently pleaded for Hindu-Muslim friendship or bonhomie, whatever one might call it. At the end of every play he would deliver a speech to promote his favourite themes of Independence Movement and Hindu Muslim Unity. Later after the plays he would stand near the exit door of theatres with his black shawl spread seeking donations for the welfare of those who were uprooted from their hearths and homes as a consequence of Partition.
Sanjna’s
maternal grandfather and grandmother, too, were distinguished theatre artists.
Her grandfather Geoffrey Kendall was a member of travelling theatres in England
before his troupe was asked to entertain the British troops in various corners
of South-East Asia during the World War II. Travelling through various
countries, he along with his troupe that included his wife Laura Liddel and
daughters, Jennifer and Felicity landed up in India during the 1940s.
He
came and fell in love with the country – a case almost of love at first sight.
He organized a few artists who were British as well as Indians and created the
theatrical outfit called “Shakespareana”. He along with his family and fellow
artists travelled the entire country staging plays of Shakespeare. With his
perfect stage sets, props and innovative lighting the plays were effective in
evoking the times of Shakespeare’s plays.
During
his travels he hit Gwalior in 1952 or 1953 and staged plays in our college, the
local girls’ college, Scindia School and even the local club associated with
the Scindias. We would see the party arrive in tongas with boxes full of
equipment – dresses, drapes, period furniture etc. They made quite a stir among
the College boys as none of us had ever seen so many white people all at the
same time and at the same place. If I recall, Shashi Kapoor had not joined the
outfit till then. The plays were ticketed and my parents had no reservations
about parting with the necessary money.
I was lucky to have seen two plays – Shakespeare’s
“Merchant of Venice” and “Arms and the Man” of George Bernard Shaw. Both of
them were being taught to us as parts of our English courses. Geoffrey Kendall
played the role of Shylock the Jew and most of us were taken in by his
enactment of the role I still remember his scream of “oh my daughter, oh my
ducats” when he realized that his daughter Jessica had eloped and gone away. He
brought to Gwalior for the first time new ways of preparing realistic sets and
effective lighting. I still remember how cleverly moonlight outside a window
was created by using blue light in “Arms and the Man”.
Having
seen such emancipated men like her two eminent grandfathers Sanjna has every
reason to bemoan the prevailing radicalism in the society which has only
engendered pervasive reign of fear extinguishing the light of freedom of
expression and speech. Sanjana is right; in a mere half a century we have
fallen steeply from lofty heights only to become puny, narrow-minded men
straddling this once-noble country.
30th
November 2017
*Photo from internet