Now who could even imagine that a flourishing domain of colorful commercial Punjabi Dramas flourished in Delhi. Commercial, in contrast to the art form of dramas, is solely dependent on popularity amongst the hoi polloi. Public patronage is its oxygen. Corporates, NGOs and other Sponsors hardly come forward to support them. Of course, cities like Mumbai, Kolkata and Chennai have a rich heritage of performance forms, be it art or commercial. In commercial form, there exists a genre which often appeals to the baser instincts. Agreed, even saucy Tamashas, Jatras and Bollywood inspired dances may do equally well in Mumbai or Kolkata but they tend to cater to a somewhat select audience there. The Drama Production Companies and Artists, producing serious forms can survive, reasonably well, in these metros. The various aspects of Production, Writing, Direction, Stage Design, Sound, Music, Lighting, Acting etc. can be taken up as full time avocations. So its surprisingly that a city like Delhi known as a Politico – Bureaucratic – Shopkeeping dominion, can if need be, conjure up a surprising saga of commercial dramatics.
Delhi, of course, has also witnessed sterling performances by Drama Companies, notably, the NSD Repertory, SRCPA Repertory etc. NSD Repertory put out outstanding performances of epic plays like Tughlaq (with live horses on ramparts) starring Manohar Singh, Andha Yug (with live vultures) with Rajesh Vivek in the lead, at the Old Fort in Delhi and Bade Saiyad – Chote Saiyad with Manohar Singh again, at Ravindra Bhavan Open Air Theatre and who can forget Raghuvir Yadad in the Hindi version of Servant of Two Masters as also Pankaj Kapoor in Chopra Kamal Naukar Jamal. Jaat hi Pucho Sadhu ki at Sriram Centre Basement by SRCPA even had a centenary show. Adrak ke Panje by Babban Khan even had a very successful stint in Delhi. But those who are theatre goers in Delhi, admit now that these were, more of a flash in the pan. Gradually over a period of time Delhi Theatre seems to have gone to seed. Again most, not very surprisingly, may have forgotten (chose to?) the vibrant and flourishing saga of Punjabi Commercial Theatre in Delhi. The contents of most of these plays may have been salacious but they certainly catered to many. The Box Office takeaways was a crucial evidence! High browed culture – vultures also occasionally frequented these plays, ostensively to keep abreast of current trends; “not to actually appreciate them”. Well, to them Delhites, may have quipped – ‘Hum ko jo taane dete hain, hum khoye hain in rang-raliyon mein Humne unko bhi chhup-chhup ke aate dekhaa in galiyon mein’.The main Hall where these Punjabi Plays were enacted, was startlingly in the dignified, venerated, quiet precincts of Sapru House. The Sapru House then was an intellectual hub and a go to place for Civil Service Aspirants as it had a well-stocked library for a quiet relaxed study. Membership was not as easily forthcoming as was for the Central Secretariat Library and aspirants felt that the membership of Sapru House was a well-earned step towards Prelimship. Sapru House also had a small but well maintained and well-furnished Auditorium. In this Auditorium then, the ruling Thespians of Commercial Punjabi Drama plied their fare. Most shows had full houses and one had to book tickets in advance. Weekend Shows always had a big House Full board outside. What was the mystique behind these plays? Why were they so outrageously popular? What made the cash registers ring? How come actors became stars in their own right without even a scant discussion in the drawing rooms of uppity Delhities? If the Titles were anything to go by one can understand the hesitancy yet also the eagerness of the goers.
Budhi Ghori Lal Lagam, Khade Choley Dakar Badama De, Simla Na Ooty Honeymoon Baratooti and such like titles could not ever be ignored. Like the forbidden fruit, it attracted Delhites like ants to a honey pot. The sheer promise of sauciness, naughty goings on and a glimpse of unmentionables was enough to attract humongous audiences. Mind you these were the rather prudish 70s’ and 80s’, Delhi. The frenzy was increased by tantalizing posters of oomph girls and comical male characters with large bellies. Some were deliberately(?) certified Adults to rally up numbers. The entire Punjabi Drama Scene suddenly burst into the sedate world of drama performances in Delhi. Unprecedented crowds gathered outside the auditorium. And maybe for the first time, Drama tickets were sold in Black on a regular basis. Initially media and most intelligentsia tended to avoid the halla gulla. Even established Drama Companies & Societies tended to treat them with a patronizing attitude.
The moolah being raked in by the producers and Punjabi natak companies however made everyone sit up. Call it professional rivalry, sheer envy or genuine concern, a certain murmuring started amongst Delhites. What started as small whispers for avoiding immodest shows and impact on teens of impressionable ages, later became a full-fledged campaign. There were demands that these, ‘so called Dramas’, should be out rightly banned or at least directed to pass through rigorous Censor tests. Many wondered, that unlike the Cinemas which had a well-established censor procedure, did any formal process even exist for such performances. In the name of Plays & Dramas which mostly involved high caliber literature, what was being dished out were abominable pieces of puerility. The rising din could not be disregarded. Gradually the Producers of the Punjabi Dramas found it more and more difficult to carry on. It was certainly not business as usual for them. Just as the commercial Punjabi Drama Scene had suddenly appeared as a bright, shining star it swiftly faded away like a meteor. Moral policing, as a term, had yet to make its appearance but it was certainly one of the earliest examples.
Some were happy with the demise. For others, the entire Punjabi Commercial Drama phase of Delhi was a tragic play of sorts. Irony is its connoisseurs could not even clap for the last ‘Exit’. But hope always springs eternal in Delhites’ hearts. They can’t resist quoting Mir, a prominent Delhite himself, albeit with profound apologies: Aab to jaate hain butkade se ‘mir’ Fir milenge agar khuda laya (..By Sidhartha Mukherjee)
