BAHOT NACHYO GOPAL GUJARATI DRAMA

They are just tastefully presented. Schedule No upcoming shows. While Krishna is present through all the monologues, he remains silent. It is also clear at the beginning of the play that Gujarati audiences can hope for something different than the typical box set affairs. Uday Mazumdar’s compositons are ear pleasing. One would have hoped for something refreshing in terms of the content but that isn’t the case.

Pratik Gandhi Krishna is the perfect ‘natkhat’ Gopal but unfortunately doesn’t have much to do and hence is wasted. It is also clear at the beginning of the play that Gujarati audiences can hope for something different than the typical box set affairs. A Fifth Quarter Infomedia Pvt. Lord Krishna is a well-known God. Get theatre updates in your inbox subscribe to Mumbai Theatre Guide weekly updates. Register a workshop View all workshops. The onus is therefore on the six characters to keep the audience involved with their reflections. But probably a mix of dialogue and monologue might have made the proceedings more interesting.

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While Krishna is present through all the monologues, he remains silent. One feels that their characterizations are one-dimensional and the potential of the potential depth that these monologues might have offered, remains unexplored at all the three levels of writing, direction and performance.

It is challenging when the actor is all alone on stage and all the impulses have to come from within.

But probably a mix of dialogue and monologue might have made the proceedings more interesting. Content wise there is no value addition. The set design Subhash Ashar is minimalistic yet effective while the light design Kamlesh Mota adds a lot of color to the play.

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At the same time one would feel that songs and even dance perhaps could have been used more effectively, making the production vibrant.

As a result, the stream of words tends to make the pieces verbose. Indians of course only know him too well.

Bahot Nachyo Gopal: Play

As the play sums up, audiences can be heard commenting that ‘Sudama’ was the best piece amongst the others. One would have hoped for tujarati refreshing in terms of the content but that isn’t the case.

Get theatre updates in your inbox subscribe to Mumbai Theatre Guide weekly updates.

However Mihir Bhuta’s script has bahof inherent rhythm and is peppered with literary words. Brought up on a staple diet of his tales, Krishna embodies many aspects.

Uday Mazumdar’s compositons are ear pleasing. In spite of its limitations, the production makes an honest attempt to explore the human dimensions of an idolized God. It seeks to reveal the various sides to Krishna’s personality through the monologues of six people who were close to him.

Though the stories are presented from the point of view of characters who are reflecting on Krishna, the tales are already too well known. Kamlesh Mota Sudama does one thing different – he ‘physicalizes’ the emotions and directs himself.

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BOHOT NACHYO GOPAL play review , Gujarati play review –

A Fifth Quarter Infomedia Pvt. Register a workshop View all workshops. Yashodha comes on first, followed by Radha, then Sudama, who is followed by Arjun; next in line are Draupadi and finally, his consort Rukmani. The play uses live music to its advantage, adding some value to the stories.

He has numerous worshippers not just in India but in other parts of the world too. Collage Workshop for kids 8 to 12 years This is a 1-day workshop that will span for 2 hours i.

AME BADHA LIVE CHIYE Gujarati Play/Drama –

With a figure like Krishna, one takes it for granted that there will be music and dance. They are just tastefully presented. It is also clear at the beginning of the play that Gujarati audiences can hope for something different than the typical box set affairs. Collage Workshop for Kids 8 years years Mixed Media: Pratik Gandhi Krishna is the perfect ‘natkhat’ Gopal but unfortunately doesn’t have much to do and hence is wasted.

Lord Krishna is a well-known God. Master Naturalistic Acting for a wide variety of roles in both Films. The onus is therefore on the six characters to keep the audience involved with their reflections.