The mobile theatre of Assam is something that has not only withstood the test of time but has also survived the brutal onslaught of the Covid-19 pandemic that put an end to many of the once-popular cinema halls. The mobile theatre scene of Assam has gone from strength to strength and it has been so because of the love that the people of Assam have showered on various theatre groups and performers.
Mobile theatre of Assam is similar to what we know of live theatre productions but with some differences. Here, the theatre company performs as it travels from place to place. The stage is set on large fields or playgrounds and elaborate sets are designed and created in a manner that they can be taken apart, packed and transported from one location to another. The productions that are realized through mobile theatres have a strong emphasis on entertainment and are generally dripping with action, romance, conflict, thrill and elevated theatrical performances.
The concept of mobile theatres is deeply rooted in Assamese culture and way of life. It has always been there and always will be. People of this region not only appreciate the phenomenal hard work that goes into making every show successful but are also aware of the fact that most of the people involved with these groups work primarily out of passion as the financial payoff is meagre. Thus, the crowds pour in as much for entertainment as they do to appreciate and applaud the herculean task that goes into making these shows a rousing success.
My recent tryst with Assam’s mobile theatre:
Last week, I was literally pulled into watching one such production by one of my dear friends. The last theatre performance I saw was a decade back. After that, while I often felt like revisiting a local group, the idea never came to fruition. This time, however, on the repeated requests of my friend, I decided to give in to my impulses, and what an experience it turned out to be! We watched a ‘Rajmukut’ production at Dispur College Playground in Ganeshguri and the drama was “Birikhor Birina”.
Before going for the show, there was much give and take between me and my friend on what the title of the drama could mean. While we thought of lofty ideas and concepts that it could refer to, it turned out that the name of the drama was inspired by the name of the two primary characters in the story. Birikh was the hero and Birina was the heroine. The title literally meant, Birikh’s Birina. The drama was penned by Rajdweep who is also credited to have written and composed the overwhelmingly beautiful title track of the drama. The titular characters of Birikh and Birina are played by popular Assamese actors Utpal Das and Debashree Gogoi. I never expected to see the kind of crowd that eventually gathered for the show.
All about the drama Brikhor Birina:
The story revolves around a simple village lad, Birikh, who is head-over-heels in love with Birina. Unfortunately, he has never dared to speak his heart to her and she doesn’t even know that he exists. On the other hand, Birina is a dedicated daughter to a doting father. Her father decides to get Birina married to a goon (hilariously named Unmad Ranjan Hazarika), posing as a businessman on the persuasion of her evil and conniving aunt, Madhurima Borpujari. Madhurima’s plan is to wrest Birina of all her wealth after marriage and shower the same on her own son. However, things don’t go according to plan as Birikh lands smack in the middle of their elaborate conspiracy. What happens next is what the play is all about.
The logistical miracles that are mobile theatres:
While theatres have been around for centuries, the mobile theatre of Assam is nothing short of a logistic miracle to pull off. Just to imagine that the entire setup including the performing stage that is expected to serve multiple setups and allow for elaborate dance numbers and action sequences gives me goosebumps. Add to that the fact that the same stage is supposed to hold its own over three shows of two hours each and that too back-to-back, and you understand the craft that goes behind keeping it standing firm. Every time the actors walked on a narrow plank and did their dance steps with comfort and ease, I couldn’t help but look on in awe. Every time, the protagonist broke out into a fight with multiple villains where they jumped and leapt and pounced on each other as if they were fighting on concrete, my heart was in my mouth. As I entered the tent and looked closely at the entire setup, it dawned on me that the setup was anything but rock solid. Many portions were coming off. The wood was giving away and the stage creaked and moved every time the actors walked on specific portions. Still, it never impacted their performances. I would run for my life if I was asked to perform stunts on a similar stage. I don’t even want to think about the other parts of the logistics like a green room, electricity, sound design etc.
For the uninitiated, the mobile theatres in Assam unfold on two stages mounted side by side. A scene unfolds on one of the stages and then the next scene unfolds on the other while they prepare the previous stage for the next scene. During song and dance routines, the time gap between the portions of the song and the particular stage that is used to portray the same is utilised even more innovatively than the dramatic scenes and at most junctures to the advantage of the rendition. One thing that absolutely perplexed me about the entire process was how quickly the actors changed between different costumes and still looked pitch-perfect.
The actors and their performances:
That brings me to the performances. I really am at a loss for words to praise the performances enough. To carry on an act with such energy and vigour for two hours and not forget a single word of dialogue was something that mesmerizes me. Remember, there are no retakes here. Just to think that these actors do the same for six hours, back-to-back, every day was even more bewildering.
Utpal Das is a known face in Assam and for all the right reasons. His performance was the backbone of the entire drama as he was featured in every scene of the play. He romances, he does comedy, he fights like there’s no tomorrow, and then he is heartfelt in his depiction of tragedy. His performance in front of a packed crowd in a poorly ventilated tent was good enough to keep the audience glued to their rickety plastic chairs. They even cheered their hearts out for him at specific junctures. Need I say more?
Debashree Gogoi as Birina was no less. She was an embodiment of pristine beauty and purity of heart that would make a simple lad like Birikh fall head-over-heels in love with her. The way she toggled between different looks and the level of comfort that she depicted in each of the avatars, that too at such short notice, was impressive. The flamboyance that she portrayed in the song and dance routines made the audience go wild.
I couldn’t find the name of the actor who played MLA da but his performance was as good as the lead pair. It was sometimes even better. He was the comedic backbone of the story, and without him, the drama would lose a lot of its shine.
Direction and techniques:
I loved the direction and the elaborate set pieces. The lighting was temperamental and added a lot to whatever was happening on screen. I would go to the extent of saying that it not only contributed to the mood of the proceedings but also aided in the suspension of disbelief. This aspect of the play can be noticed in the scenes where Birikh is shown languishing in jail or the scenes that unfold at the bus stop. The flow of the narrative was organic. The writing does falter in certain portions and there is a repetition of some dialogues that could have been easily avoided, but none of that takes away the fun of the play or the craft that went into building the experience.
Final thoughts:
I have to admit that this was an experience that closely resembled a cinematic treatment. The only thing that it lacked was the different camera angles which is a practical impossibility. For every other cinematic quality and trope, the makers had an answer. There even were a few intercutting of scenes when something was happening somewhere and at the same juncture, something related to that was happening someplace else. This was an awe-inspiring achievement in terms of storytelling and execution.
Assam’s mobile theatre is not only a matter of pride and cultural symbol for the state, but is also a case study of how cinema can be replaced by live performances, techniques, resourcefulness, and the backing of faithful audiences. For the ones who haven’t experienced this spectacle up and close, I urge them to definitely watch at least one drama this theatrical season that has just kicked off and will continue until the rains come pouring down in May.
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