A Note on the Play

Dance Like a Man I have a chair that belonged to my father and, since his death, has
now passed onto me. Through some unwritten rule, it is understood
A Stage Play in Two Acts that this is my chair and nobody else will sit in it. I used this chair on
stage for the play’s Amritlal Parekh, the autocratic father, to use and
nobody else sat on it—a metaphor of the unwritten rules of authority
that so many of us come to accept as part of the Indian joint family.
The younger Jairaj tries to go against this in the play that examines
authority and prejudice socially and culturally and as we sit in the
dark watching the story unfold between time past and time present,
Mahesh Dattani forces us to examine our own individual and
collective consciousness.
Are we the liberal-minded persons we would like to believe that we
are or do we blindly kowtow to unwritten laws of family conduct that
is the easier path to take?
In a city like Chennai, where everyone knows a dancer or has a
dancer in the family, Dance Like a Man was bound to strike a familiar
chord. The challenge to both my actors and myself as director was
not just to bring the issues the play raises to the fore but also to
bridge Dattani’s verbal ingenuity with a strong visual element.
I used a minimalistic approach to set design, which gave me the
freedom to choreograph movement and composition with broad
strokes, sometimes sculptural in quality and often fluid like a dancer
in full flow. It was a challenge at every level of production.
To me, this was a personal journey, knowing that my own life, like
Jairaj in the play has not been easy in trying to march the beat of a
different drummer.

Mithran Devanesen
(Mithran Devanesen is a Chennai-based theatre director
Dance Like a Man was first performed at Chowdiah Memorial Hall,
and one of India’s leading set and light designer.)
Bangalore, on 22 September 1989, as part of the Deccan Herald
Theatre Festival. The cast was as follows:

YOUNG JAIRAJ/VISWAS Mahesh Dattani

YOUNG RATNA/LATA Anjali Jayadev
OLD JAIRAJ/AMRITLAL Vivek Shah
OLD RATNA Dilshad Master

Director Mahesh Dattani

Choreographers U.S. Krishna Rao
Chandrabhaga Devi
Incidental music Nimesh Patel
Pradeep Narrain
Sets and Lighting Pradeep Belawadi

The play was subsequently performed at the NCPA Experimental

Theatre, Mumbai, on 14 February 1990, with Mahesh Dattani, Anjali
Jayadev, Vivek Shah and Hema Mandanna, directed by Mahesh
Dattani.
It was also performed by Prime Time in 1995, with Lillette Dubey,
Siddhartha Basu, Shivani Wazir and Joy Sengupta, directed by
Lillette Dubey. This production continues to tour occasionally.
 LATA.One of our musicians isn’t well. He fell down the stairs and
ACT I broke his arm.
A dimly-lit room in an old-fashioned house in the heart of the city. Up VISWAS. Did he trip on his dhoti or something?
centre is the entrance to the room—a huge arched doorway. There is a
LATA. But they promised they’d be here by seven.
rather modern-looking rear panel behind the entrance with a telephone
and a modern painting on it. The rear panel can he slid to reveal a
VISWAS.
They might still be at the hospital. I can see them now
garden. Upstage left, a dance practice hall. Upstage right, a staircase
going to the bedrooms. Downstage right, exits into the kitchen. All the —‘Excuse us, we must rush. We have a son-in-law to meet.’
furniture in the room is at least forty years old.
LATA.
Don’t be under the impression that they are tripping over
Lata and Viswas enter from the doorway. themselves to meet you.
VISWAS.Why? Aren’t they anxious to know who their lovely Lata is
VISWAS. So this is where I get killed. marrying?
LATA. They should have been here by now. LATA.Actually they couldn’t care less who or what you are. As long as
VISWAS.They are not in? You said it was all arranged. Wait a minute. you let me dance.
They said seven o’clock. VISWAS.Hmm. And what if I whisk you away to Dubai and sell you to
LATA. I know, but they had to go out. Emergency. a sheikh?

VISWAS. Only doctors and firemen go out on emergencies. Dancers LATA.Well, at least I’ll still be dancing in his harem! No, seriously,
stay at home till it’s show time. They also stay at home when they they are not worried.
have invited their future son-in-law to their house. VISWAS. What kind of parents are they?
LATA. Don’t be so sure. They have to meet you first. LATA (smiles). I told you, they are different.
VISWAS (sits down). I’m sure they are anxious to get rid of you. We VISWAS. Did you tell them about my father?
will probably discuss wedding details. You know, things like what
LATA. Yes.
they are going to give you, who feeds how many people. Then your
mother will want to meet my mother and they’ll show each other their VISWAS. That he runs a mithai shop on Commercial Street?
Kanchipuram saris.
LATA. Yes. And also that he owns half the buildings on that road.
LATA. Oh, Viswas! Maybe I should throw you out before they come.
VISWAS. I hope they don’t think they’ve caught a big one.
VISWAS. But where are they?
LATA. I hope you don’t think you’ve caught a big one.
VISWAS. Why should I think that?
LATA. Simple. I’m the sole heir to this property. It’s worth quite a lot. LATA. When I was a little girl, I used to stand near the door and watch
mummy and daddy practise. It was magic for me. I knew then what I
VISWAS (looks around). This? Quite old-fashioned. High ceiling and
wanted to be. Viswas, when we are married—you will let me come
all. The wood is probably rotting. But at least it’s huge.
here to practise, won’t you?
LATA.Right in the centre of town. Do you know how much this land is -----------------------------------------------------------
worth? A Marwari builder offered my father ninety lakhs! (Viswas VISWAS. Of course, Lata . . .
whistles.) He wants to build a shopping complex.
LATA.Oh, thank you! (Holds the bells to her eyes and replaces them
VISWAS. So is he selling it?
on the floor.)
LATA.No. (Looks at Viswas.) He would never do that. My parents
VISWAS.Don’t thank me. I don’t think our floor can withstand a million
have spent all their lives here. My mother’s house, I’m told, used to
adavus.
be just five buildings away. There’s nobody there now. Even before
they married, she used to practically live here. They practised dance LATA. And we won’t have children.
together under the same guru. Come on, I’ll show you where we VISWAS. And we won’t have . . . what?
practise.
LATA. I mean, not right away. We can have them later, can’t we?
VISWAS. You did tell me it was big but I never expected this.
VISWAS. My father almost died when I told him I’m marrying outside
Lata leads Viswas to the dance hall and switches on the lights.
the caste. Wait till he hears this!
Wow! I’ve never seen a house like this before.
LATA.There’s plenty of time. We are still young. (Comes back to the
LATA.Some of these instruments are the same ones my parents main room, Viswas follows.) My parents had me when they were
used. Almost forty years old. (Picks up a pair of dancing bells.) Can both forty.
you believe it? These are the same bells my father wore for his
VISWAS. Maybe we can adopt one.
debut! Ooh! I get goosebumps every time I touch them. This room
has something special in it. Can you feel it? LATA. Don’t be silly.
VISWAS. What? The goosebumps? VISWAS.
We could practice on him, so we would know what to do
LATA. Atmosphere! Vibrations! (Shakes the bells.) when our own brat comes along. You know, like a dress rehearsal.

VISWAS. Yes, that too. LATA. Do you want children?

LATA.This floor has felt a million adavus. Over and over again. VISWAS. Yes.
(Stamps on the floor.) Feel that? LATA. Lots and lots of them?
VISWAS (nods). I hear it too. VISWAS. Yes.
LATA. Then go marry someone else! LATA. Do you or do you not want some coffee?
VISWAS. Oh, Lata, Lata. At least let’s settle for two. VISWAS. Filtered?
LATA (smiles). Okay. LATA. Instant.
VISWAS. You mean it? VISWAS. You have tea?
LATA. One child right away and another . . . let’s see. LATA. We don’t make tea in this house.
VISWAS. Cheer up. We might get twins. Love’s labour saved. VISWAS.Well, you better get used to making it. Me marrying a Southie
LATA. You are a clown. I don’t know what my parents will think of you. my father will tolerate, but accepting a daughter-in-law who doesn’t
make tea is asking too much of him.
VISWAS (looks at his watch). They have to meet me first.
LATA. I’m not a Southie. My father is Gujarati.
LATA.
Sit down. (They sit in silence for a while.) Maybe I should make
VISWAS. Do you have tea in the house?
some coffee for you.
LATA. No.
VISWAS. Why maybe?
VISWAS. Then you’re a Southie.
LATA. I don’t know. It’s the done thing, isn’t it?
LATA. Fine. I’ll get some tea from the shop nearby and . . .
VISWAS Well, if you feel you must, don’t let me stop you.
VISWAS. Not just now. I’ll let you know when I feel like it, thank you.
LATA(gets up and stops). On the other hand, I don’t have to make it if
you don’t want it. LATA (sighs). We’re not even married yet and I find you exasperating.
VISWAS. But if it’s the done thing, then you must. VISWAS. Oh, my God!
LATA. Why? There’s no one else here except you and me. So who LATA. Now what?
cares whether it’s done or not? Unless you have a desperate desire
VISWAS; Your father is a Gujju?
to drink coffee. (Pause.) Do you?
LATA. So?
VISWAS. Not really.
VISWAS. And he doesn’t drink tea?
LATA. Good. That’s settled then. (Sits down.)
LATA. Mummy’s influence, I suppose.
VISWAS. On the other hand, I prefer rattling cups to twiddling thumbs.
VISWAS.What a cruel thing to do to a Gujju, Not giving him tea! Your
LATA. I’ll make some. (Gets up.)
mother must be dominating the poor man!
VISWAS. If it isn’t too much of a bother. Actually, I could do without it.
LATA. I guess daddy is a bit more . . . pliable than usual. Like you. LATA. They must have. But daddy has always had a deep respect for
VISWAS. You think I’m pliable? him. That’s why he will never sell this house. Do you know most of
the furniture in this room is my grandfather’s? My father refused to
LATA. Yes. part with any of it.
VISWAS (sighs). I suppose I am. VISWAS. That’s it!
LATA. Don’t worry. I won’t take advantage. LATA. Huh?
VISWAS. But your mother does. VISWAS. So that’s what it is.
LATA. Does what? LATA. What?
VISWAS. Dominate. Bully your father. VISWAS. This room reminded me of something. Now I know what. An
LATA. No. She does not! antique shop.
LATA. Well, everything here is at least forty or fifty years old.
VISWAS. That’s a relief. That sort of thing runs in the family, you know.
VISWAS.Over here. (Moves towards the doorway.) But in the living
LATA.That’s not true. My grandfather was the dominating type but
look at my father, he . . . room, everything is quite new.
LATA.That wasn’t there before. This was the living room. There was a
VISWAS. Your grandfather? I thought he was dead.
huge lawn in front. My mother had the front extended. We allow very
LATA (with patience). He is now. He wasn’t before. few people to come right in. Only musicians and dancers. The others
VISWAS. You haven’t told me much about him. we finish off with in the living room.
VISWAS. I’m not a musician or a dancer, why didn’t you finish off with
LATA.
He died when I was still a baby. But I know all about him. He
was a social reformer. Used to hold secret meetings in this very me in the living room?
room during the British Raj. LATA. You are part of the family.
VISWAS. Oh, a freedom fighter! VISWAS. Not yet. I still have to approve of our parents.
LATA. I suppose that was the big cause then. LATA. What has happened to them? Sit down. I’ll call Muthiah, our
VISWAS. And after we became free? flutist, and find out where they are. (Makes to go to the living room.)
VISWAS. Where are you going?
LATA.He must have had his hands full handling daddy, what with him
wanting to be a dancer! LATA. To use the phone.
VISWAS. They must have had some terrific fights.
VISWAS (points to an old-fashioned phone). What’s wrong with this VISWAS (removes a splendid brocade shawl). Oh, wow! Look at that!
one? LATA. Isn’t it splendid?
LATA.
That’s also part of the antique show. It’s a dummy, dummy.
VISWAS. I’m going to ask for this as dowry.
(Goes to the living room.)
LATA. No. He won’t give it to you.
VISWAS (looks around the room and shakes his head). I’m going to
get in-laws who are ready for the nut house! VISWAS. Why not?
While Lata is on the phone, Viswas looks around the room. He is LATA.Same reason why he won’t sell the house. It belonged to my
intrigued by a large ornate cupboard.
grandfather.
LATA. Hello. Muthu uncle? Lata here. Yes. I’m fine, fine . . . No, they VISWAS. Looks like I should be lucky if he parts with you.
are not back. That’s why I called to find out . . . Oh, that’s too bad.
Multiple fractures? How did it happen? What? He tripped on his LATA(takes the shawl from Viswas). It was a present to granddad
dhoti? . . . That’s sad. Do you know when mummy and daddy . . .? from the Mysore maharajah. He got this and an award from the
Yes, yes, I promise I’ll visit him. No, I don’t want to speak to Kala. I maharajah during Dussehra.
didn’t call for her . . . No, we haven’t fought. (Quietly.) Uncle, could VISWAS. What for?
you please tell me—what time did my parents leave the hospital?
LATA.Mummy did tell me once, but I’ve forgotten. She said this was
Good. Thank you. I promise to call Kala . . . and I promise to go to
the hospital . . . Yes. I’ll take Kala with me . . . No, I won’t forget to his most prized possession. Every time he had visitors, he would
take some payasam for him. Excuse me, I think the milk is boiling. quickly wrap this around, no matter how hot it was. He was the first
Bye. (Puts the phone down and crosses downstage towards the among the educated elite class to shun western suits and wear
kitchen.) Musicians! Sit down. They should be here any moment. kurtas and shawls like these on formal occasions. (Putting the shawl
back into the cupboard.) Now sit down while I do my work.
VISWAS. Where are you going?
VISWAS. Can I sit in the kitchen and watch you?
LATA. I’m making coffee for all of us. (Stops.) I could make Bournvita
LATA. No, thanks. I’ll get nervous.
for you, if you want. (Notices Viswas observing the cupboard.)
Beautiful, isn’t it? Solid rosewood. They don’t make cupboards like VISWAS. When my mother comes here, she’ll want to watch you make
these anymore. coffee. Be prepared.
VISWAS. What’s inside? (as she exits). First my parents have to watch you make a
LATA

LATA.Oh, more books. (Viswas opens the cupboard.) Be careful. monkey of yourself. (Exits.)
Most of those books have turned yellow. The pages will crumble if VISWAS (calling after her). She has eyes like a hawk, my mother!
you touch them. She’ll even check to see how far up your legs are tanned so she’ll
know whether you wear mini skirts or not! You want . . . to . . . buy . . . property—offer . . . of . . . ninety . . . still
Viswas wanders around. He looks at a bookshelf and removes a book open. (Reads.) You want to buy property. Offer of ninety still open. Is
halfway. He hesitates, and then puts it back and dusts his hands. He it not? . . . See I told you. (Suddenly dropping the accent.) Wait a
moves towards the old-fashioned phone, picks it up and puts the receiver minute! You’re the one—you want to build a shopping complex,
to his ear. He is shocked to hear a phone ring. He quickly replaces the
right? . . . Never mind who I am. I have a message for you from Mr
receiver.
Jairaj Parekh. He still hasn’t changed his mind. He’s not interested. I
LATA (off, calling out loudly). Viswas, get that, please. also have a message for you from his son-in-law-to-be. Call back
VISWAS (looks around, confused). What? Where? (Realizes it is from after ten years. He may be interested in your offer. Good bye!
the living room.) Yes! Yes! I’ve got it. I’m getting it. (Crosses to the (Hangs up and returns to the hall.)
living room, answers the phone.) Hello? . . . That’s the number. Yes, LATA (enters). Who was that?
this is the residence of Jairaj Parekh . . . No, he’s not in . . . Me?
VISWAS.No one. Some poor old chap seeking employment. He
Who am I? I–I-I’m nobody. Just the . . . just the . . . butler. (Puts on
wanted to know if there was a vacancy for a butler.
an atrocious south Indian accent.) I’m butler, saar. Saar and amma
going out. I taking message. LATA. A butler? Are those still around? (Exits.)
LATA (enters). Viswas, who is that? Viswas makes to sit but stops. He looks at the cupboard, goes towards it
and opens it. He looks to see if Lata is around. Satisfied she isn’t, he
VISWAS.When they coming? They not telling . . . One nimit. I asking removes the shawl and wears it and struts around.
missy amma. (Comes to the hall.) Someone for your father. VISWAS. What a granddaddy she had! He must have been a terror. No
LATA. Who is it? wonder her father is a weirdo. (Clears his throat and puts on a mock-
father voice.) So, you want to be a dancer. Hah! Hah! Hah! Son, you
VISWAS. He didn’t say. Why don’t you speak to him?
will never amount to anything in life. Look at me. Look at what I have
LATA.I’m busy. Take his number and say father will call back as soon achieved. Yes. Look. Look. Look. (Points to the furniture.) What’s
as he comes. Unless it’s Muthiah. Tell him they’ve just come and that you say? There’s more to life than money? You ungrateful
gone and won’t be back till tomorrow. wretch!
Lata exits to the kitchen. Viswas goes to the living room. Unnoticed by him, Jairaj Parekh and Ratna Parekh enter. They stop and
stare at his antics. They are both in their sixties, but very erect and
VISWAS(on the phone). Hello. Missy amma saying they coming soon. energetic from years of rigorous training.
Yourself be kind and give name and message . . . Yes, Yes I writing
VISWAS (continues dramatically). Where will you go being a dancer?
down messages . . . What you’re saying, saar? I know writing
message. I’m graduate in English honours . . . Yes, yes. You tell, Nowhere! What will you get being a dancer? Nothing! People will
good name? . . . (As if writing.) . . . Chag-an-lal Chadani . . . point at you on the streets and laugh and ask, ‘Who is he?’ ‘He is a
Chaganlal Chadani, is it not? . . . See I told you. And message? . . . dancer.’ ‘What does he do?’ ‘He is a dancer.’ ‘Yes, but what does he
do?’ ‘He is a dan . . .’ (Notices them.) Sir! (Grins stupidly and shrugs
embarrassedly.) I got bored waiting . . . (Jairaj and Ratna don’t RATNA. Crisis, problem, whatever!
respond.) I love dancing. Not disco or anything like that. You know,
JAIRAJ. We’ve had problems before.
our dances. There’s so much more in them. You know what I mean?
(Shouts.) Lata! RATNA. But never one like this. Oh God! What will we do?
JAIRAJ. Please put the shawl back. JAIRAJ (comforting her). We’ll think of something. First, shut up.
VISWAS. Yes, yes . . . (Folds it clumsily.) . . . I’m sorry about it being a Ratna stops. Viswas has been stating at them dumbfounded.
lovely shawl. VISWAS. Look, I know I haven’t made a very good first impression, but
RATNA. Give it to me. (Stretches out her hand.) I would be more comfortable if you didn’t think of me as a crisis or a
problem.
Viswas gives the shawl to her. She folds it neatly and puts it back into the
cupboard. Jairaj is staring at Viswas. Ratna sits down. RATNA. What are you talking about?
RATNA. Please sit. (Viswas sits awkwardly. Without looking at Jairaj.) VISWAS(at a loss for words, laughs nervously). Could I ask you the
Sit down. same question?
JAIRAJ (moves to sit, then stops abruptly and shouts). Lata! (Sits.) JAIRAJ. We were not talking about you. We don’t even know you.
Embarrassing silence.
VISWAS. My name is Viswas and . . .
LATA (enters). I didn’t hear you come in. I spoke to Muthu uncle and
JAIRAJ (irritated). We know that. But we don’t know you well enough
he said you’d already left. What took you so long? (Silence.)
to think of you as a problem or anything. Understand?
Anyway, I’ve made coffee for us and Bournvita for our guest. He
hates instant coffee. Mummy, maybe you should make some filtered VISWAS. That’s a relief!
coffee for him some time. (Now uneasy.) I’ll be back in a minute! I’m JAIRAJ. What? That we don’t know you?
sorry if I interrupted the friendly conversation. (Exits.)
VISWAS. No. That you don’t think of me as a problem.
The others stare at one another.
RATNA. Ten days! That’s all we have.
RATNA (bursts out). This is terrible! What are we going to do?
JAIRAJ. We’ll find someone else.
JAIRAJ. There’s no use worrying . . .
RATNA. Who? Everyone’s booked.
RATNA. This has never happened before! In all my life.
JAIRAJ. We could ask Seshadri. He knows our repertoire.
JAIRAJ. In all our lives . . .
RATNA. Seshadri? Are you mad? He’s rehearsing with Chandra
RATNA. In all our lives, I can’t remember ever being in such a crisis.
JAIRAJ. It’s not a crisis. Kala.
JAIRAJ. He’ll only need a day’s rehearsal. VISWAS (clears his throat). I know this is none of my business, but
RATNA. He won’t have the time. aren’t you straying away from the problem? From what I gather, the
problem is that you need someone desperately within ten days.
JAIRAJ. He won’t be rehearsing with Chandra Kala all day for ten Someone like this Seshadri, but not Seshadri because he is too busy
days. doing whatever he is doing.
RATNA. When he’s not rehearsing with her, he is sleeping with her. JAIRAJ. You are intelligent.
JAIRAJ. You don’t know that for sure. You mustn’t listen to gossip. VISWAS (overjoyed). Thank you.
RATNA. It’s not gossip. I have seen it with my own eyes. RATNA. How does that help us?
JAIRAJ. When? JAIRAJ. You’re right. It doesn’t.
RATNA.When we were in Moscow, at the hotel. At three o’clock in the VISWAS. Maybe if I know what it is you want . . .
morning, I saw him sneak down the corridor and into her room.
LATA (enters with coffee and Bournvita). Sorry I took so long. The gas
JAIRAJ.
What were you doing in the hotel corridor at three in the got over. I had to tilt the cylinder. (To Viswas.) I should have called
morning? you for help but I thought it may not be a good idea. (To Ratna.) So,
RATNA. Watching to see whose room you had sneaked into. what do you think of him?
RATNA. We aren’t thinking of him.
JAIRAJ. I was downstairs drinking vodka with the Yakshagana troupe.
RATNA. How do you know? LATA (serving). Oh, then it’s me you were thinking of. Viswas, I hope
you haven’t told them you don’t have any money. (To Ratna.) Don’t
JAIRAJ. How do I know what? believe him. His father owns half the buildings on Commercial Street.
RATNA. That was too quick an answer. How do you know which night VISWAS. We haven’t been discussing my money.
I’m talking about?
LATA. Oh, why not?
JAIRAJ.
There was only one night in Moscow I stayed up late drinking
VISWAS. I seem to be in the middle of a problem.
vodka . . .
LATA. Something you haven’t told me? Is it financial?
RATNA. That was ten years ago. How can you remember so clearly?
VISWAS. No! What I mean is your parents seem to have a problem
JAIRAJ.If you can remember Seshadri sneaking down a hotel corridor
ten years ago, I can remember getting drunk with a gang of and I’m in the middle of it.
Yakshagana men with plucked eyebrows and bad make-up. JAIRAJ. You are not. You don’t even know what the problem is.
RATNA. Lata! You should be the one to worry.
LATA. What about? LATA. Have you asked Seshadri uncle?
RATNA. About Srinivas breaking his arm. Who will play the mridangam RATNA. Certainly not!
for your performance?
LATA. Good. I hate that pot-bellied lech.
LATA. Oh my God! It didn’t strike me. Of course, he broke his arm! Ratna gets up.
RATNA.Why did it have to be him? I wouldn’t have minded if Muthiah JAIRAJ. Where are you going?
had broken his neck.
RATNA. To get an Aspro for my headache.
JAIRAJ (to Viswas). C.V. Srinivas, our mridangist.
JAIRAJ.
You are always taking Aspro. (Follows Ratna.) Don’t take too
RATNA. A flutist or violinist we can do without, but this . . . much Aspro.
JAIRAJ (to Viswas). He tripped on his dhoti. RATNA. I tried Novalgin. It doesn’t help.
LATA. This is a crisis. JAIRAJ. You’re going to kill yourself. Stop taking those tablets.
VISWAS. It’s a special talent. RATNA. I have to! I can’t take this tension.
LATA. Of course it is. Playing any instrument requires a special . . . JAIRAJ.What tension? There’s plenty of time. You’re worrying about
VISWAS. I meant wearing a dhoti. You have to get the hang of it. I nothing.
wore one once. You’ve got to kick it out of your way. Like a sari. Of RATNA (excitedly). Nothing? Our daughter is giving a performance
course, I’ve never worn a sari, so I . . . that will make her career and she is not going to have a mridangam
LATA. Viswas, do you mind? We are in the middle of a problem. playing for her. How do you expect her to give her best? How do you
expect her to dance? What will we announce to the President of
RATNA (to Viswas). Sreenu has been wearing a dhoti ever since he India? There will be no dance tonight? Tell all those foreign
grew out of half-pants. He must have been drunk. diplomats to go home? In my life I’ve had problems . . .
VISWAS. You’re right. JAIRAJ. Now don’t start . . .
RATNA. The fool! RATNA. Problems which you know about but conveniently forget!
LATA. Viswas, please drink your Bournvita. This is serious. JAIRAJ. Ratna, no . . .
Jairaj offers Ratna coffee.
RATNA. I did not go through all that to see our daughter’s career finish
RATNA (waving her hand). I don’t want it. (Rubs her forehead.) overnight!
JAIRAJ. Worrying is not going to help. Think of all the people we know. JAIRAJ. It’s not . . .
RATNA. Finished! Just like me. Yes, your father was right. Dance has LATA. Yes. Maybe you should.
brought us nowhere. It’s his curse on us. Nothing seems worth it
VISWAS. I’ll come back some other time. (Makes to go to the door.)
anymore. Oh, it is all so . . . worthless. You should have listened to
your father. He was right. We were never anything great, never will LATA. If you want to.
be, and nor will our daughter be anything but an average human VISWAS (to Jairaj). Goodnight, sir.
being.
JAIRAJ. Wait. Don’t go yet.
JAIRAJ. Lata is not average!
LATA. Daddy, we’ve embarrassed him enough.
RATNA. If she can’t dance, what else can she be?
JAIRAJ. Please stay for a while.
JAIRAJ. There were times when we didn’t dance.
Pause.
RATNA. And look where we are.
VISWAS. All right.
JAIRAJ. We are fine! At least I am.
JAIRAJ. Sit down. (Viswas sits.) Drink your Bournvita.
RATNA. You! You are nothing but a spineless boy who couldn’t leave
VISWAS. I don’t want it. I hate it.
his father’s house for more than forty-eight hours.
JAIRAJ. Take it away, Lata.
JAIRAJ. Ratna! Don’t . . .
LATA (picks up the tray). You haven’t had your coffee.
RATNA. You stopped being a man for me the day you came back to
this house . . . JAIRAJ. I don’t want it. I hate coffee. (Lata looks at Jairaj.) I always
JAIRAJ. For forty years you’ve been holding that against . . . have. (Lata exits. Jairaj looks at Viswas.) I’m sorry. We are usually a
little more hospitable to our guests than this. Please excuse us.
RATNA.You’re right, I’m worrying about nothing, because nothing is
VISWAS. I understand.
what we are!
JAIRAJ. Do you?
JAIRAJ (quietly). You are going mad.
VISWAS. Yes.
LATA(goes towards Ratna). Mummy, whatever happens, I’m going to
dance at the fest. For all those people and for you. JAIRAJ. What do you understand?
JAIRAJ. Will finding a musician make me a man? VISWAS. That you are worried about Lata’s performance and so you
LATA. Daddy. couldn’t really pay much attention to me.

Ratna exits to the bedroom. Pause. JAIRAJ. It’s not just the performance.

VISWAS. Maybe I should leave. VISWAS. Then what is it?

 Pause. JAIRAJ.
Straight from the bottle. Cheers. (They drink.) I’m not
JAIRAJ. Do you drink? supposed to be drinking.

VISWAS. Well. No. Yes. Sometimes with friends. But never in front of VISWAS. IS that why you hide it in the cupboard?
elders. JAIRAJ. Shut up and drink.
Jairaj goes to the cupboard. As he is opening it, Lata enters. He quickly Viswas and Jairaj drink in silence.
closes the cupboard.
VISWAS. You were going to tell me what’s worrying you.
LATA (to Viswas). I’m sorry. This just seems to be the wrong day . . .
JAIRAJ. Was I?
JAIRAJ. It’s all right. I’ve finished apologizing to your friend.
VISWAS. Yes. That’s why you asked me to stay, I think.
LATA. Good. Then he can leave and come back some other time and
... JAIRAJ. Oh! It’s not worrying that’s worrying me.

JAIRAJ. Lata, go to your mother’s room and sleep with her tonight. VISWAS. No? Then what is it?

LATA. She’s in one of her moods. You know how she gets. (to himself). Stopping. And looking back. And seeing that you
JAIRAJ
haven’t gone very far. And won’t go much further.
JAIRAJ. Yes, I know. That’s why I’m sleeping in your room tonight.
VISWAS. Phew!
LATA. But she’ll tell me the miseries of her life. I don’t want to hear
that all night. JAIRAJ. Tell me about your life.

JAIRAJ. You’ll only hear them. I’ve lived through them. VISWAS. My life? There’s nothing much to tell. It hasn’t started yet.

LATA. Oh! (Mutters to herself.) That’s one thing I’ll never do. Bore my JAIRAJ.It hasn’t started yet! You can wait till you are sixty for it to start
children talking about the failures in my life! (Exits to the bedroom.) and it won’t. (Drinks.) So, your father is a paanwalla.
Jairaj goes to the cupboard, and removes a bottle of whisky and a glass. VISWAS. Mithaiwalla.
He pours.
JAIRAJ. Makes a lot of money?
VISWAS. Not too much for me. Just a little . . .
VISWAS.
It’s the family business. It’s okay. My father has really made
JAIRAJ. Soda?
good money from his buildings.
VISWAS. Well . . . JAIRAJ. Hmm. Black.
JAIRAJ.Good. We don’t have any. Drink it neat. Don’t ask for ice. I’m VISWAS. Jet black.
not going to get it for you. (Gives Viswas the glass.)
JAIRAJ. Buildings, is it?
VISWAS. What about you?
VISWAS. Yes. VISWAS. What happened?
JAIRAJ. Strange. JAIRAJ.What happened? Nothing. (Laughs.) That was the trouble.
VISWAS. What? Nothing happened. (Laughs again.) Didn’t you hear my wife?
Nothing is what we are! After forty years, she tells me she doesn’t
JAIRAJ. That’s how my father made his money. think of me as a man. Just a spineless boy. And you know what I
VISWAS. Buildings? think? I think she is right!
VISWAS. Why?
JAIRAJ. Houses, bungalows. Bought them real cheap. When the
British left, there was a real demand for these bungalows. He made JAIRAJ. She knows why.
a lot of money. One of the richest men in town. Amritlal Parekh. The
VISWAS. You must have hated your father.
sethji of the city. Do you know what he did with all that? He spent it
all in reconstructing India. Sounds very patriotic, doesn’t it? All he did JAIRAJ. Maybe.
was give out a lot of personal loans to friends and relatives. Gullible
VISWAS. Lata told me you respected him a lot.
—that’s what he was—my father.
JAIRAJ. Did she say that?
VISWAS. My father wouldn’t loan money to me if I wanted it.
VISWAS. Yes. That’s why you have kept this portion unaltered, Almost
(laughs loudly). Neither did my father. He gave to everyone
JAIRAJ
like a shrine in memory of him.
except me.
JAIRAJ. Rubbish. This was my world. I have kept it the same because
VISWAS. Why?
it’s mine. This is where I spent my childhood. I removed his
JAIRAJ(drinks). The craft of a prostitute to show off her wares—what memories. The gardens. He had plenty of spare time. He used to do
business did a man have learning such a craft? Of what use could it a lot of gardening. A rose garden. Creepers climbing the walls. When
be to him? No use. So no man would want to learn such a craft. he died, I had everything removed. Pulled it all out from the roots.
Hence anyone who learnt such a craft could not be a man. How When Ratna and I made some money from our dance school and
could I argue against such logic? performances abroad, we extended the front of the house. We had a
VISWAS. But you fought back. That’s good. You did what you wanted lot of visitors, you see. We did make a name abroad and that made
us local celebrities.
to do. You were steadfast.
VISWAS. And the shawl? Why have you kept his shawl? (No reply.) It’s
JAIRAJ (sarcastically). Brave.
a beautiful shawl. I asked Lata if you would give it to me as dowry.
VISWAS. Yes, and brave too. Just joking, you understand. I don’t really want anything. She said
JAIRAJ. Words! Brave words. That’s all. you wouldn’t part with it because it was your father’s.
 Jairaj goes to the cupboard and removes the shawl. He gives it to VISWAS.Yes, sir. Certainly. (Goes towards the living room doorway.)
Viswas.
One thing Lata was right about. You are different. (Exits.)
JAIRAJ. Let me see how you look wearing it. Jairaj smiles slightly. He picks up Viswas’s glass, finishes the drink and
Viswas wraps it clumsily around himself. puts the glass back in the cupboard. He picks up the bottle, takes one
last swig before closing it and putting it back. He looks at the shawl he is
VISWAS. It’s fantastic. It will go very well with a sherwani. about to pick it up.

JAIRAJ. Do you like it? RATNA (enters). Jairaj? Has he gone?

VISWAS. Oh, yes! JAIRAJ. Yes. How are you feeling?
JAIRAJ. You can have it then. RATNA. Just awful.
VISWAS. Oh! I don’t know how to thank you. It’s very generous of you. JAIRAJ. Where’s Lata?
I promise to take good care of it. I’ll fold it neatly and put it in a bag RATNA. Fast asleep on our bed. Wonder why she did that?
and . . .
JAIRAJ. Yes. Wonder why?
(takes the shawl, folds it and places it on the sofa). I didn’t
JAIRAJ
mean you can take it now. When you are married to Lata. RATNA. Don’t pretend. You asked her to console me, didn’t you?

VISWAS.I’m sorry. I misunderstood. Yes, of course. (Takes his hand JAIRAJ. Are you consoled?
and shakes it vigorously.) Thank you, sir. Thank you verv much! RATNA. It doesn’t matter. You’ll have to sleep in her room.
JAIRAJ(removes his hand from Viswas’s clasp). It’s only a shawl. JAIRAJ. I’ll manage. (Hiccups.)
Most boys would ask for a Maruti van.
RATNA (sniffing). You have been drinking, haven’t you?
VISWAS.No, I wasn’t thanking you for the shawl. Thank you for
agreeing to our marriage. You approve of me! JAIRAJ.
A little. That boy wanted a drink very badly. I kept him
company.
JAIRAJ. I approve of you?
RATNA. I don’t believe you. You have been drinking quite a lot. I can
VISWAS. Yes.
tell by just looking at you.
JAIRAJ. And you approve of us? JAIRAJ. Maybe.
VISWAS. Yes! RATNA. And where did you get the liquor from? Lata makes sure there
JAIRAJ. Good, then go home. And ask your father to call me some is none in the house at any time.
time. JAIRAJ. Now you are the one who is pretending.
RATNA. What do you mean? JAIRAJ.
See what I mean about diluting it? Some more? (Ratna
JAIRAJ. You know I hide it in the cupboard. shakes her head.) Feeling better? (She nods.) Good. Then we can
talk.
RATNA. If I had known, I would have taken it away.
RATNA.Yes. I have decided we could ask Chandra Kala to lend
JAIRAJ. You did take it away. And you put it back. After diluting it with Seshadri, as a favour. She may need our help some day, so she is
water. bound to oblige.
RATNA. You are drunk. JAIRAJ. Good thinking.
JAIRAJ.
Next time you want to drink, don’t bother topping it with water. RATNA. It’s settled then. I’ll call her in the morning. (Makes to go.)
You have to drink more every time to get the same kick.
JAIRAJ(abruptly). Do you think we would have been happier if we
RATNA. I don’t need to get a kick like you! I–I have a little bit now and hadn’t come back?
then to settle my nerves.
RATNA (confused). Are you talking about . . . ?
JAIRAJ. Sit down.
JAIRAJ. Yes.
RATNA. Why?
RATNA. Why bring it up now after forty . . .
JAIRAJ(making Ratna sit). Sit down, Ratna Devi . . . can I get you a
JAIRAJ.You brought it up. What did you say? I stopped being a man
drink? (Goes to the cupboard.)
for you because we couldn’t survive on our own . . .
RATNA. Please, Jai. I’m in no mood for jokes.
RATNA. I didn’t say it like that!
JAIRAJ.Jai? You called me Jai? (Takes out the bottle and opens it.)
JAIRAJ. Your face tells me you did.
You haven’t called me Jai in God knows how many years. This calls
for a celebration. Here. (Offers Ratna the bottle.) RATNA. You mustn’t take notice of what I say when I’m upset.
RATNA. I always use the glass. JAIRAJ. That is the only time you make sense to me.
JAIRAJ(goes to the cupboard to get a glass). Good. We haven’t RATNA. I’m going to bed. I suggest you do the same.
expressed ourselves to each other so well for a long time. Maybe we
JAIRAJ. What did you want me to do? Carry on staying at your uncle’s
should drink together more often. (Pours.) At least we will be more
...
honest with each other.
RATNA. Don’t!
RATNA (takes the drink). When have I been dishonest with you?
(Takes a large gulp.) JAIRAJ. Stay with him after what he said . . .
RATNA. Will you please . . . !
JAIRAJ. Is that what you wanted me to do? RATNA. I’m only explaining.
RATNA. Don’t say it! JAIRAJ. If that’s how you felt about me, I must congratulate you for
JAIRAJ. Look the other way while your uncle . . . hiding it so well all these years. Don’t feel bad about it. It was bound
to spring up some time. You’re only human.
RATNA. Please!
RATNA. I’m human and so are you! So what if you couldn’t support
JAIRAJ.While your uncle asked you to go to bed with him? Would I your family on your own? You were interested in . . . higher things.
have been a man then? Giving my wife to her own uncle because he Something better than just working for money alone. And since your
was offering us food and shelter? Would you have preferred that? father had this house and could support us, there was no reason
Do you think your uncle made such interesting proposals to all his why we couldn’t . . .
nieces? No! That would be a great sin. But you were different. You
JAIRAJ. After leaving him? Coming back and accepting defeat?
were meant for entertainment. Of what kind was a minor detail. So
what was wrong with going back to my father? At least my father RATNA. That was an impulsive decision—to leave. We were both to
didn’t make . . . blame.
RATNA (screaming). Stop it! JAIRAJ.That is very kind of you. Not to blame me alone. Or maybe it’s
JAIRAJ (quietly), I’m sorry. You mustn’t take notice of what I not kindness. Something deeper than that. Like . . . guilt? You forgive
me and I forgive you. Forgive what you did to Shankar . . .
say when I’m drunk.
RATNA. Don’t mention that name to me!
RATNA. Please forgive me, I didn’t mean anything I said when I was
JAIRAJ.Oh, no! I won’t. I forgive you. I will never mention Shankar
upset . . .
again . . .
JAIRAJ. You don’t believe what you said was true?
RATNA. Oh! (Weakly.) You promised. Oh, I only wish . . .
RATNA. No.
JAIRAJ. What? That we could start again?
JAIRAJ. Funny, I do.
RATNA. Oh, I don’t know. It all seems so petty now.
RATNA. You know how anxious I am about Lata’s performance. If she
JAIRAJ. Not worth the . . . sacrifices.
does well, she will be a national figure. Then if we butter up the right
ministers, we can even get foreign tours arranged. You know how RATNA (looks at Jairaj). It was too great a price to pay, Jai.
hard we had to struggle. I just want to make sure Lata won’t have to
JAIRAJ. And yet you wish the same life for your daughter.
face the same difficulties. You should understand how I feel . . .
RATNA.Times have changed and things will be easier for her in some
JAIRAJ. Don’t change the subject.
ways. Of course, she is talented and can become famous.
JAIRAJ. Will that make all we’ve been through worth something? Jairaj yawns and is also about to exit to the bedroom when he notices the
shawl. He goes and picks it up and makes to put it into the cupboard, but
RATNA. Yes! I wish Lata more fame than we have had. Why, she can changes his mind.
be the best! We just have to push her a bit and, with our experience JAIRAJ (to himself). Your last memory. Soon I’ll be rid of you too. Then
behind her, she can’t fail. Yes. I’ll do anything to see that she I won’t see you wearing this shawl, walking about this room. (Flute,
reaches the top. Even if it means being sweet to that bitch Chandra followed by mridangam.) I won’t see you wearing this shawl. I won’t
Kala. see you walking about this room. (Paces up and down while the
JAIRAJ. Good. You sound normal again. lights dim.) I won’t see you wearing this shawl walking about this
room. Walking about—wearing this shawl.
RATNA. Within ten days, you’ll see. Our Lata will be the talk of the
Jairaj wears the shawl. He is immediately fixed in a spotlight. The music
town. I’ve taken care of the critics already. I’ve promised C.V. Suri I’ll
builds up until suddenly jathis or dance syllables being recited can be
make him the chief guest at the Navratri festival. That old fogey heard. The living room now changes into a lovely rose garden. Spotlight
loves to be garlanded on stage. And if he gives Lata a rave review, picks up a young man with his back to the audience, dancing. He wears
the others wouldn’t dream of doing differently. Things would have dancing bells and a band around his waist. A young woman is sitting in
been perfect if that Sreenu hadn’t . . . Anyway, we’ll think about that front of him. The characters have all changed. Jairaj becomes the father,
Amritlal Parekh. Viswas becomes Jairaj. Lata is now Ratna. Their ages
tomorrow. I’m going to sleep now. (Makes to exit.) remain the same as those of the previous characters they played. It is
JAIRAJ(puts back the bottle and glass into the cupboard). What do now the 1940s.
you think of Viswas? AMRITLAL (shouting). Jai! (No response.) Jairaj!
RATNA (Stops), Who? Full lights. Jairaj mimes motioning to the musicians to stop. The music
stops.
JAIRAJ. The boy Lata brought home tonight.
JAIRAJ (shouting). What?
RATNA. He’s all right. A bit strange. But okay. Why?
AMRITLAL. When I call for you, please show your face.
JAIRAJ. No particular reason. I’ve just agreed to them getting married,
JAIRAJ (comes to what is now the main living room, the bells around
that’s all.
his ankles ringing as he walks). What is it, Father? I’m in the middle
RATNA. He’s well off, isn’t he? of an item.
JAIRAJ. From what he told me, yes. AMRITLAL. What? Still in the middle? You’ve been at it the whole day.
RATNA. And he will let her dance? JAIRAJ. Not the whole day. We had a long lunch break.
JAIRAJ. Yes. AMRITLAL. And how long will it last?
RATNA.In that case (as she exits) just make sure the wedding is after JAIRAJ.
I don’t know. Ratna and I take turns. Guruji decides when to
the Navratri festival . . . (Exits to bedroom.) pack up. Could you tell me what you want. Father? Guruji doesn’t
like to be kept waiting. AMRITLAL. Don’t bother about me. Look after your guests!
AMRITLAL. I want this din to stop. I want Guruji out, that’s what I want. RATNA. The coffee won’t take time. The decoction is ready. (Exits to
JAIRAJ. You’ll just have put up with it for some more time. the kitchen.)
JAIRAJ. I can’t even have a decent rehearsal in this house.
RATNA (comes out of the dance hall). Are you coming? Guruji is
waiting. He wants you to do the jathiswaram with me again. AMRITLAL.You can’t have a decent rehearsal in this house? 1 can’t
AMRITLAL. Tell him he is occupied for the time being. have some peace and quiet in my house! It’s bad enough having had
to convert the library into a practice hall for you.
RATNA. Jai?
JAIRAJ. Why did you do it if you didn’t want to?
JAIRAJ. In a minute, Ratna.
AMRITLAL. I thought it was just a fancy of yours. I would have made a
RATNA.
You know what he is like when he gets annoyed. (Exits. cricket pitch for you on our lawn if you were interested in cricket.
Mimes talking to Guruji and musicians.) Well, most boys are interested in cricket, my son is interested in
JAIRAJ. Now what is it? dance, I thought. I didn’t realize this interest of yours would turn into
an . . . obsession.
AMRITLAL.I’m expecting some people and I want those musicians out
JAIRAJ. Didn’t you have your obsessions?
before they arrive.
AMRITLAL. If you mean my involvement in fighting for your freedom,
JAIRAJ. They will leave when your guests come, I assure you.
yes, it was an obsession.
AMRITLAL. I want them out now.
JAIRAJ. You had yours. Now allow me to have mine.
JAIRAJ. I can’t just ask them to leave!
AMRITLAL. How can you even compare the two?
AMRITLAL. Doesn’t he have any other students, your guru?
JAIRAJ. As far as I can see, I can.
JAIRAJ. He is the most sought-after guru in India.
AMRITLAL. As far as you can see! You can’t see far, that is your
AMRITLAL. Then why is he spending his entire day in my house? trouble. Where is your dance going to lead you?
JAIRAJ.
I will not get into an argument with you on that. Now if you will JAIRAJ.If we hadn’t gained independence, where would your
excuse me, I have work to do. (Makes to exit to the dance hall.) revolutions have led you?
RATNA (enters from the dance hall, to Jairaj). Since we’ve stopped, AMRITLAL. I would like to see what kind of independence you gain with
the musicians want coffee. (As she exits to the kitchen, to Amritlal.) your antics.
Musicians! They look for any excuse to pretend to feel offended. I’ll
JAIRAJ. The independence to do what I want.
bring tea for you.
AMRITLAL. I have always allowed you to do what you have wanted to AMRITLAL.We are building ashrams for these unfortunate women!
do. But there comes a time when you have to do what is expected of Educating them, reforming them . . .
you. Why must you dance? It doesn’t give you any income. Is it
JAIRAJ. Reform! Don’t talk about reform. If you really wanted any kind
because of your wife? Is she forcing you to dance?
of reform in our society, you would let them practise their art.
JAIRAJ. Nobody’s forcing me.
AMRITLAL. Encourace open prostitution?
AMRITLAL.She may be by influencing you. Maybe it’s her, not you.
JAIRAJ.
Send them back to their temples! Give them awards for
That’s one thing I regret. Consenting to your marriage.
preserving their art.
JAIRAJ.
Don’t pretend. It suited your image—that of a liberal-minded
AMRITLAL. My son, you are the ignorant one. Most of them have given
person—to have a daughter-in-law from outside your community.
up their ‘art’ as you call it and have taken to selling their bodies.
AMRITLAL. And for that I repent.
JAIRAJ. I hold you responsible for that.
JAIRAJ. What do you mean?
AMRITLAL. You have gone mad.
AMRITLAL.Where does she go every Monday? (Pause.) You know
JAIRAJ. Give them their homes and give them their profession.
and you don’t tell me.
AMRITLAL. I will not have our temples turned into brothels!
JAIRAJ. Where are your progressive ideas now?
JAIRAJ.
And I will not have my art run down by a handful of stubborn
AMRITLAL. This is different.
narrow-minded individuals with fancy pretentious ideals.
JAIRAJ.
Where is the spirit of revolution? You didn’t fight to gain
AMRITLAL. Nobody is running down your art. It is the people who
independence, You fought for power in your hands. Why, you are just
perform it and for what reason, that we are trying to . . .
as conservative and prudish as the people who were ruling over us!
JAIRAJ.
All right then! You should be pleased that people from
AMRITLAL.You are mistaken. Gaining independence was part of our
respectable families like yours are interested in reviving this dance.
goal. And someone has to be in charge. It’s what we do now that
You should be encouraging us instead of being a hindrance.
counts. As you know, our priority is to eradicate certain unwanted
and ugly practices which are a shame to our society. AMRITLAL. I have no objection to your efforts in reviving the art, but I
definitely do object to the people you are associating with.
JAIRAJ. Like dowry and untouchability.
JAIRAJ. Who do you mean?
AMRITLAL. That too. And . . . you know perfectly well what I mean.
AMRITLAL. Your guru. What kind of a family is he from?
JAIRAJ. You have no knowledge of the subject. You are ignorant.
JAIRAJ. His mother was not a devadasi, if that’s what you wanted to
know.
AMRITLAL. Why does he wear his hair so long? RATNA. Really, it’s no trouble . . .
JAIRAJ. Why do you ask? AMRITLAL. Sit down. (Quieter.) Sit down, Ratna.
AMRITLAL. I have never seen a man with long hair. Ratna sits. Jairaj mimes serving the musicians and talking to Guruji.

JAIRAJ. All sadhus have long hair. RATNA. What happened?

AMRITLAL. I don’t mean them. I meant normal men. AMRITLAL. Hmm?

JAIRAJ. What are you trying to say? RATNA. What happened between you two? He looked upset . . .

AMRITLAL. All I’m saying is that normal men don’t keep their hair so AMRITLAL.
Nothing happened. We were just talking. I . . . mentioned
long. something about long hair and . . . (Ratna laughs.) What’s so funny?

JAIRAJ.
Are you saying that he is not . . . (Realizes the implication.) RATNA. Oh, he told you?
Are you saying . . . ? AMRITLAL. What?
AMRITLAL. I’ve also noticed the way he walks. RATNA. That he is planning to grow his hair long? It would enhance
JAIRAJ (angrily). This is disgusting! You are insane! his abhinaya.

RATNA (enters with a tray and cups). Coffee! Coffee for the artistes! AMRITLAL. I see. And was that his idea, or maybe yours?
Jai, do you want yours here or will you have it with Guruji? I’ll get RATNA. Actually, it was Guruji’s suggestion.
your father’s tea in a minute. (No reply from Jairaj.) jai? Shall I keep
AMRITLAL.Tell him that if he grows his hair even an inch longer, I will
your coffee here or do you want to sit with guruji? (No reply.) Well, I’ll
keep it here and I’ll have mine . . . shave his head and throw him on the roads.

JAIRAJ. Take it in, Ratna. I’ll drink it with Guruji. RATNA (a little frightened). Yes. Now if you don’t want tea, I’ll go back
to the class . . .
RATNA. It’s all right. You can have it here. Keep your father company.
AMRITLAL. Where were you yesterday?
I’ll manage . . .
RATNA. I really must get back . . .
JAIRAJ(roughly). Give me the tray, I’ll serve them. (Takes the tray
from Ratna.) You can make tea for your father-in-law. (Moves to the AMRITLAL. Where were you the whole of yesterday?
dance area.)
RATNA. I told you where I was going.
RATNA(stares after him uncomprehendingly, then to Amritlal.) I’ll
AMRITLAL. But where did you go instead?
make tea in a . . .
RATNA. I don’t know what you mean.
AMRITLAL. I don’t want any tea.
AMRITLAL. You had informed me that you were going to the Shiva RATNA. I have always been taught to speak to my elders with respect,
temple. but since I haven’t done anything wrong there’s no reason why I
RATNA. Yes. Like I do every Monday. shouldn’t speak up. Chenni amma is the oldest living exponent of the
Mysore school and is the only link we have with the old school. She
AMRITLAL. Every Monday, is it? doesn’t have a single student who is dedicated enough to absorb her
RATNA. Yes. knowledge. She is seventy-five and dying. There’s nobody who even
visits her, not even her relatives or her children. Oh, she does get the
AMRITLAL. Times haven’t changed. When we were newly married, occasional journalist or a curious foreigner knocking at her door. But
Jai’s mother and I were not allowed to go anywhere on our own, they don’t do much for her, except maybe give her a few annas out
especially not to see the moving pictures. But we were allowed to go of pity. But she doesn’t mind all this. She doesn’t mind at all-being
to the temple. So whenever we wanted to see the moving pictures, poor and lonely. What she is really frustrated about is that in her
we would tell everyone at home that we were going to the temple. youth she did not have the freedom to express her art. All her
Nobody stopped us. childhood years were spent in training. Training which she could
RATNA. If I wanted to see a film, I would tell you the truth. never use. All a waste—for her. She spends her time now at the
temple steps, selling flowers. When she came to know that I was a
AMRITLAL. That is because you know I won’t object to your seeing a dancer, she greeted me and pleaded, yes, pleaded with me to learn
film. the art of abhinaya from her. She even tempted me by offering to
RATNA. I would tell you anyway. teach me some old dance compositions which she knew by memory.
It was important for her that she should impart her knowledge to
AMRITLAL.
What if it wasn’t a film you wanted to see? What if it were
someone worthy of it. And it was important for me to learn what she
some place else where you know I wouldn’t want you to go? had to offer. So, instead of going to the temple every Monday, I go to
RATNA. Where would that be? her house.
AMRITLAL. You know very well where, because that’s where you go AMRITLAL. And practise in her courtyard for all passers-by to see.
every Monday! (Ratna does not respond.) It was fortunate for me RATNA.Only those who are curious enough to peep over her wall to
that it was Patel who saw you going there. I can trust him to keep his see where the sound of dancing bells are coming from.
mouth shut. He called me, out of concern for our family name.
AMRITLAL. Your bells. The sound of your bells.
RATNA. I haven’t done anything to spoil the family name.
RATNA. Yes.
AMRITLAL. But people assume the worst.
AMRITLAL. The sound of your bells coming from the courtyard of a
RATNA. Well, you can start by reforming such people instead of . . .
prostitute.
AMRITLAL. Don’t preach to me! I know what I have to do. RATNA. She is seventy-five years old.
AMRITLAL.And people peer over her walls to see my daughter-in-law RATNA. It’s nice to know they are already feeling insulted. They can’t
dancing in her courtyard. feel any worse when we ask them to leave. Give me the tray.
RATNA. Yes. Dancing the divine dance of Shiva and Parvati. JAIRAJ.I’ll take it to the kitchen. He wants you to do a padam now.
AMRITLAL. And you feel what you are doing is right? (Looks at Amritlal.) The older they get, the crankier they become. (To
Ratna.) And who said anything about them leaving? (To Amritlal.)
RATNA.Yes. My husband knows where I go and I have his Four rupees. (Exits to the kitchen.)
permission.
AMRITLAL (to Ratna). I’m leaving it to you. I’ll give you ten minutes
AMRITLAL.
Your husband happens to be my son, And you are both before I personally request them to leave.
under my care. It is my permission that you should ask for.
RATNA. Don’t worry. I’ll think of an excuse.
RATNA. You would not have given it to me.
AMRITLAL. Good. And if you promise me not to visit that woman again,
AMRITLAL. And I never will. I won’t feel it necessary to restrict your movements. (Ratna looks at
RATNA. If you don’t allow me to visit her, then . . . then I’ll have to ask him and laughs suddenly.) What’s so funny?
her to come here! RATNA. I really feel sorry for you!
AMRITLAL. Never. Not to this house, ever. AMRITLAL.
That’s a strange way of showing that you feel sorry for me.
RATNA.What objection do you have to a withered old lady coming to Laughing like that.
your house? It is my dancing in her courtyard that you mind. RATNA. I really do feel sorry.
AMRITLAL. You will not. That is all. I need not give you any reason for AMRITLAL. Why?
it.
RATNA.Tomorrow, Jairaj starts learning another dance form—
RATNA. You can’t stop me from learning an art! Kuchipudi.
AMRITLAL. I don’t want you seeing that woman again, that’s final. And AMRITLAL. So?
that is all I have to say. You may go. I’m sorry I’ve kept you from
RATNA(triumphantly). In Kuchipudi, the men dress up as women!
jingling your bells. My request is that you finish with your session as
(Laughs triumphantly and exits to dance hall.)
quickly as you can and see that your Guruji leaves before my visitors
arrive. God forbid that they should bump into one another. Ratna mimes speaking to her guru. Jairaj enters and makes his way to
the dance hall. He stops.
JAIRAJ(enters with the tray). They’ve finished their coffee. Why didn’t
JAIRAJ. Can I have the money now?
you serve them sweets? One of them hinted he wanted to eat
sweets. You know how they love to feel insulted. (To Amritlal.) I have AMRITLAL. Yes, I’ll give you the money now.
to pay the musicians.
JAIRAJ. Four rupees. JAIRAJ. As long as we are under his care! (Exits.)
AMRITLAL. Yes. You can pay them four rupees and tell them never to RATNA. I won’t bother asking you what happened.
set foot in this house again. Amritlal goes to the old-fashioned phone and dials.
Pause.
AMRITLAL (on the phone). Hello? Patel? . . . Yes, I want a favour from
JAIRAJ. You can’t do that! you . . . The woman you saw my daughter-in-law with. Yes, that one.
AMRITLAL. I’m sorry, son. Could you send a doctor to see her? I believe she isn’t well . . . Yes
—and Patel? Please give her a donation of five hundred rupees on
JAIRAJ. But you promised. my behalf. I will send you a hundi . . . Please. I shall be very grateful
AMRITLAL. Years ago. to you . . . Thank you. (Puts the phone down.)
RATNA. That was very generous of you.
JAIRAJ.
You promised you would allow me to continue with my
hobbies. AMRITLAL. That was in compensation for depriving her of her only
AMRITLAL.That was when you were a boy and dance was just a student.
hobby. Grow up, Jairaj. Jairaj enters with a bundle of clothes tied in a sari.

JAIRAJ. I don’t want to grow up! You can’t stop me from doing what I JAIRAJ(to Ratna). Come on. I’ve packed some of your clothes. We’re
want. leaving.

AMRITLAL. As long as you are under my care . . . RATNA. Where?

Ratna enters as if leading Guruji and the musicians to the door. She JAIRAJ.We’ll decide that later. (Gives Ratna the bundle.) First, let’s
stands with folded hands near the door as they go out. get out of here.
JAIRAJ.Guruji! Why . . . (Watches them leave, then to Ratna.) Why RATNA. But Jai, you haven’t taken everything . . .
did they leave? Did my father . . .?
JAIRAJ. Never mind. (Takes Ratna by the arm and leads her to the
RATNA. It’s all right. They didn’t feel offended. I told them we were door.)
tired and he said it was time he left. He will come back tomorrow.
RATNA.At least we could take all our belongings. We could leave
AMRITLAL. He will not come here tomorrow. I will send him a personal tomorrow.
letter of regret.
JAIRAJ.We don’t need anything fancy. (Turns around and speaks
JAIRAJ(to Amritlal). As long as we are under your care . . . (Moves defiantly.) As from now we are no longer under your care. And will
towards the bedroom.) never be again. Never. (Exits, followed by a bewildered Ratna.)
RATNA. Where are you . . .? RATNA (as she exits). Jai! Jairaj!
 As soon as Ratna exits, the garden becomes the present-day living room.
Amritlal becomes the older Jairaj as he removes the shawl. The older ACT II
Ratna’s voice from the bedroom picks up from where the younger one’s
trailed off.
It is the 1940s. The younger Jairaj and Ratna are standing patiently while
RATNA (off). Jairaj? (Enters.) Jairaj? Oh! You are still here? I didn’t Amritlal censures them. There is a paper on the coffee table. It is two
days after Jairaj and Ratna had left home. Evidently they have come
see you in Lata’s room—I was wondering where you were. You back, defeated.
haven’t been drinking too much, I hope. Come to bed. I’ve asked
Lata to go back to her room. She tosses and turns too much. It
disturbs my sleep. And you can’t share a blanket with her, she grabs AMRITLAL. All right. I will allow it. I realize, of course, that you have
it all for herself in her sleep. I pity that Viswas. (Yawns.) Come on. come back more out of necessity than any real intention of patching
(Jairaj slowly exits, followed by Ratna. Ratna’s voice gradually trails up what you have undone. I don’t mind. It doesn’t give me much
off.) You know, I don’t think it is such a good idea asking Chandra pleasure to know that, but . . . I don’t mind. And I don’t gain much
Kala to lend Seshadri. They might plot to sabotage Lata’s dance. He pleasure by reminding you that you had vowed never to come back
might give her the wrong tala. People can’t make out whose mistake to this house. No, I won’t remind you of that. I am above it. But I
it is and they always blame the dancer. It happened once before definitely mind your silence. It carries too much hate. It never was
when Nalini had taken Saraswati’s cousin for her show . . . my intention to get you to hate me. What parent would want that
Lights fade out. from his children? So I have changed my mind. I will allow you to
dance. And I shall be very happy if you can earn your livelihood from
it. If you ask me for money, I shall not refuse but I will be
disappointed. I have been wise enough to invest my money in the
right places. But don’t think you have a right to all my wealth. I have
far better things to do with it than hand it over to you. You may carry
on using my library as your practice hall and your guru may come
here twice a week in the mornings. I hope I have made myself clear.
(No response.) Have I made myself clear?
JAIRAJ. Yes. Very clear. (Moves to the stairs.)
AMRITLAL. And Jairaj. (Jairaj stops.) Don’t grow your hair any longer.
(Jairaj exits. To Ratna.) And you need not learn from anyone else.
You understand?
RATNA. You are very kind.
AMRITLAL. I want to see you both happy.
RATNA (sarcastically). We are. AMRITLAL. That’s what he believes. I’m a little harder to convince.
AMRITLAL. Are you? RATNA. It’s the truth.
RATNA. Can’t you tell? AMRITLAL. Is it?
Pause. RATNA. Yes.
AMRITLAL. Do you know where a man’s happiness lies? AMRITLAL. Or did you marry him because he would let you dance?
RATNA. No. RATNA. That too.
AMRITLAL. In being a man. AMRITLAL. More of that than the first?
RATNA. That sounds profound. What does it mean? RATNA (a little ruffled). Well . . . yes.
AMRITLAL. Does Jairaj know where his happiness lies? AMRITLAL. Hmm And you are intelligent enough to realize now that the
RATNA.He does. But I don’t think it fits in with your idea of where it decision to let you dance is in my hands, not his.
should be. RATNA. You have made that very clear.
AMRITLAL. Yes. I am aware of that. And I am disappointed with that. AMRITLAL.
Don’t worry. I have no intention of stopping you. I will let
RATNA.Well, I’m sorry that you are disappointed. There is nothing you dance.
much I can do about it. RATNA. And Jairaj? You do want to prevent him from dancing, don’t
Pause. you? In spite of what you said.
AMRITLAL. You can do a lot. AMRITLAL.A woman in a man’s world may be considered as being
RATNA. I don’t think I know what you mean. progressive. But a man in a woman’s world is pathetic.
RATNA. Maybe we aren’t ‘progressive’ enough.
AMRITLAL.I have seen the world. And I can recognise a clever woman
when I see one. AMRITLAL. That isn’t being progressive, that is . . . sick.
RATNA. Thank you, I think. RATNA. Then why did you tell him just now that he could dance?
AMRITLAL. How do you feel? How do you feel dancing with your AMRITLAL. Tell me. How good is he as a dancer?
husband? What do you think of him when you see him all dressed
RATNA. He’s good.
and . . . made up.
AMRITLAL. Good? Not brilliant? And you?
RATNA. You seem to forget. I married him because he is a dancer.
RATNA. Well, if I practise hard then . . .
AMRITLAL. Then you might become famous? Gowda. How nice of you to call. And thank you for the flowers. Lata
was so pleased . . . Yes. Yes. Thank you. Oh—thank you! Yes, I’ll tell
RATNA. I might.
her. She will be thrilled to hear that . . . Why, yes! Why shouldn’t she
AMRITLAL. Just as I thought. He is wasting his time. Poor boy. be thrilled? Compliments like these from you—I don’t mean because
RATNA. He isn’t . . . you are a minister or anything like that, but you are so
knowledgeable about dance and also known to be so critical . . . If
AMRITLAL. It’s up to you now. people like you praise her, then she has every reason to be thrilled.
RATNA. What? And if a person no less than the President of India gave her a
standing ovation . . . Of course! As soon as Lata finished her tillana,
AMRITLAL. Help me make him an adult. Help me to help him grow up. he stood up and applauded . . .
RATNA. HOW? JAIRAJ (looks up from his paper). He was in a hurry to go to the toilet.
Pause. RATNA (waves to him to shut up). Anyway, I really do appreciate you
AMRITLAL.It is hard for me to explain. I leave it to you. Help me and I’ll taking the trouble to call, especially since you are busy organizing
never prevent you from dancing. I know it will take time but it must the Indian festival in Canada. I can wake Lata up, but she is too
be done. tired. And after last night’s performance she deserves a rest. Still, if
you wish I could call her . . . Then I’ll ask her to call you back? No.
RATNA. I will try.
No. It’s no trouble. I’ll ask her to call you back . . .
AMRITLAL. You’ll have to do better than that.
JAIRAJ.
Especially since you’re busy organizing the Indian festival in
RATNA (more definite). All right. Canada.
Moves towards the kitchen. Amritlal sits dotan. She stops and turns. RATNA. And if you want any help from us in organizing, please do not
And once he stops dancing—what will you do with him then? hesitate to ask us. Jairaj and I will be pleased. After all, we’ve known
you for so many years now, we are like a family . . .
AMRITLAL. Make him worthy of you.
Ratna exits. Amritlal picks up the newspaper and becomes the older
JAIRAJ (impatiently). You’re overdoing it . . .
Jairaj. A telephone rings. The lights brighten. The garden changes into RATNA (waves for him to keep quiet). By the by, have you decided on
the living room, where the telephone is ringing.
your selection committee? You must have more dancers this time.
JAIRAJ. Ratna! Not like the France fiasco. (Laughs.) Oh, you have? Anyone we
The older Ratna enters from the kitchen. know? Who? . . . (Shocked.) Who? . . . Chandra Kala? (Quickly.)
Yes. Yes, of course. A very good dancer—twenty years ago. Of
RATNA. Phone calls, phone calls, all morning! If it’s that Muthiah
course I’m happy for her daughter Mala . . .
again, I’ll . . . I’ll . . . (Answers the phone.) Hello. Oh, hello, Dr
JAIRAJ. Oh no!
RATNA. Well, it helps to have your mother on the selection committee. JAIRAJ. But it’s a rave review. Didn’t you tell her?
Oh, I don’t mean that Chandra Kala Devi would be partial. There is
RATNA.I thought I would surprise her. Let her come down. Do you
such a thing as ethics . . .
want more coffee?
JAIRAJ. Is there?
JAIRAJ. All right. Not too sweet.
RATNA. But you will have the final say, won’t you? Oh, that’s good . . .
RATNA.Then afterwards you can go to the news stall and buy the
Oh, I am sorry. Of course, I didn’t realize I was keeping you from
Herald and the Times.
important work. Thank you so much. Aye. (Replaces the phone.)
JAIRAJ.Only the Express gives reviews the very next day. The others
JAIRAJ. Don’t push. You make yourself obvious.
take at least another day.
RATNA. I’m not pushing. He called. (Goes towards the bedroom.)
RATNA.Not this time. They all promised. I promised C.V. Suri I would
JAIRAJ.Exactly. If he called, then he liked her. There’s no need for make him the chief guest at Navratri Utsav . . . (Exits to the kitchen.)
you to force . . .
JAIRAJ (shouting to Ratna). They have to give it in the same night.
RATNA (calling out). Lata! (To Jairaj.) Rubbish. Within the next few Most of them don’t have the time. Unless they write the review
hours he’ll forget about her. What with that Chandra Kala after him . . before the performance, which sometimes they do. (The phone
. rings.) Ratna!
JAIRAJ. How do you know she’s after him? RATNA (enters and goes towards the phone). Yes. Yes. Sit there
RATNA.He’s put her on the selection committee! (Calls out.) Lata! Are reading a newspaper while the whole world is knocking at our door.
(Answers the phone.) Hello—. . (Sweetly.) Oh hello, Seshadri. Did
you awake? (To Jairaj.) You say I’m pushing myself by talking to him,
you sleep well? Yes, we read the Express. That C.V. Suri is such an
Chandra Kala is probably sitting on his lap!
intelligent critic, he really knows his subject . . . For what, Sesha?
JAIRAJ. She couldn’t. No, really. I don’t know why you are apologizing . . . No. No! Sesha .
RATNA. Hmpf! That’s what you think? . . it is really nothing. So what if you gave her the wrong tala in the
beginning? I immediately stopped you, didn’t I? Anyway, don’t worry.
JAIRAJ. She’s far too fat and he’s far too skinny. It happens to the best of people. How is Chandra Kala? Please
RATNA (calling out). Lata! congratulate her on my behalf . . . Oh, you don’t know? I thought she
might have told you . . . Devaraj Gowda has put her on the selection
LATA (off). Yes, mummy, I’m awake! Give me five minutes. team to choose dancers for Canada. I am so happy for her—and
JAIRAJ. Doesn’t she want to read her review? Mala. Well, I’ll tell you a secret. Devaraj called me and asked me if I
wanted to be on the committee. Since I know almost all the dancers
RATNA. She’s afraid it’s going to be bad.
personally, it would be a very delicate situation for me to choose—
but I told him that he mustn’t waste any time in asking Chandra Kala. VISWAS(reading). ‘Blessed with a supple figure and expressive face.
She is just the person, I told him . . . Oh, it is nothing! After all, what Lata Parekh executed the adavus neatly and with precision . . .’
are friends for? . . . What? Yes. Yes. Certainly . . . Don’t worry. I will
JAIRAJ (calls into the kitchen). Viswas is here.
see that you get in . . . Don’t worry, Sesha. Within this year you will
be in Canada . . . Yes. Yes. You must excuse me now, I think the milk RATNA (off). I’ll make another cup. Ask him whether he has had
is boiling. Thank you for calling. So kind of you . . . Yes. I’ll tell her. breakfast.
(Replaces the phone.) One of these days I’m going to break his
VISWAS (reading). ‘Her nritya and abhitiaya were unparalleled and
mridangam on his head! (Moves towards the kitchen.) Will idlis do or
truly remarkable in a dancer so young in years. Under the expert
shall I make dosas for breakfast? (Exits without waiting for an
guidance of her parents Smt. Ratna and Sri Jairaj Parekh, she has
answer.)
blossomed into a superlative dancer. This is one star which will shine
Jairaj folds his paper and puts it down. Viswas enters, looking very bright in the sky of Bharatanatyam.’
excited. He has two papers with him.
JAIRAJ(reading). ‘Her angashuddha and grip over rhythm stand head
VISWAS. Did you read them? Herald and Times! Rave reviews!
and shoulders above the rest, even surpassing veterans like
JAIRAJ. Did you read Express? Chandra Kala Devi. Truly, Lata Parekh, with perseverance and
VISWAS. No. Let me see it! dedication will find her place amongst legendary artistes like
Balasaraswati and Rukmini Devi.’
He takes the Express eagerly and Jairaj takes the Herald and the
VISWAS.
That’s great. That’s really . . . I don’t know what
Times as eagerly. They both simultaneously turn the pages.
angashuddha and all that means, but it sounds simply wonderful.
JAIRAJ (reading.) ‘Lata Parekh—star of the festival.’
JAIRAJ.
She’s a genius! That’s what it means. Our daughter is a
VISWAS (reading.) ‘Lata excels!’ Wow! genius.
JAIRAJ (flicks through the other paper). ‘Lata leaves rest behind!’ Wait VISWAS. ‘A shining star in the sky of Bharatanatyam!’
till she reads this!
JAIRAJ. These critics get carried away now and then.
Viswas reads while Jairaj goes towards the bedroom and calls out to
Lata. VISWAS. Who cares? They liked her. They adored her!
JAIRAJ (calling out). Lata! Come and read your rave reviews! RATNA (enters with coffee). You see! Haven’t all the critics . . .
LATA (off). I’m coming! Lata enters. Immediately both men stand up and applaud.

JAIRAJ. Viswas is here. JAIRAJ. ‘The discovery of the decade!’

LATA (off). Oh, in that case, give me two minutes. VISWAS. ‘A shining star!’
 Lata makes a mock-namaste. Ratna places the tray on the table with a JAIRAJ. In the tillana she wasn’t supposed to be talking to a parrot.
forced smile.
VISWAS. Anyway, it looked good.
LATA. Thank you. Thank you, one and all.
JAIRAJ.How can it look good? She had no business talking to a parrot
RATNA(with a catch in her voice). Congratulations, Lata. (They
in the middle of a tillana.
embrace.) Now, sit down and drink your coffee.
VISWAS. Ah, but we didn’t know that. And I liked the way she finished
JAIRAJ.
And read your reviews! (Gives Lata the papers.) Here. Here
with a flourish. We knew then it was time to clap.
and here.
Lata and Jairaj sit.
JAIRAJ (coldly). Drink your coffee.

RATNA. Viswas, I hope you are staying for breakfast. LATA (reading and laughing loudly). This one is hysterical. ‘Her
rendition of the ashtapadi from Geeta Govindam was tenderly
VISWAS. Oh, no, thanks. I’ve had mine already. intense and intensely tender. The audience was transported to
RATNA. It’s only idlis. You can eat one or two. Gokulam and witnessed Radha pining for the divine lover, who has
failed to arrive. Lata’s tearful expression and heaving bosom
Viswas laughs uncomfortably. Ratna exits to the kitchen.
conveyed all that was humanly possible.’ (Laughing. To Viswas.) My
Viswas sits.
bosom was heaving because I was breathless from the varnam.
LATA (still reading). I can’t believe it!
VISWAS. I didn’t quite like that one.
JAIRAJ. You’d better. You are famous now.
JAIRAJ. You didn’t like Jayadev’s Geeta Govindam?
LATA. Mostly mummy’s efforts. Pushing me forward.
VISWAS. Oh no!
JAIRAJ. I wouldn’t give her the credit entirely.
JAIRAJ. No?
LATA (reading and laughing). This one actually liked my tillana. ‘Her
VISWAS. Oh no! No! I mean, I don’t have anything against him.
sculpturesque poses and flourishes were truly delightful to view’—
that’s a laugh. JAIRAJ. Then what was it you didn’t like?

JAIRAJ. They were very good. Even though you made them all up. VISWAS. Well, nothing . . . Well, on second thoughts, I quite liked it.

LATA (giggles). I forgot the last jathi and simply posed till the music (to Lata). Your friend didn’t like the ashtapadi. Ask him what
JAIRAJ

finished and I finished with a flourish. was wrong with it.

VISWAS. But I liked those poses. They did remind me of sculptures LATA (still reading). Huh?
like . . . you know, the one you see on post cards where the dancer VISWAS. I didn’t say I didn’t like the ashtapadi.
is talking to a parrot or something.
JAIRAJ. You did. JAIRAJ.
I’m glad you have an opinion. You are welcome to it for
VISWAS. No, I didn’t. whatever it is worth.
VISWAS.Look, I know I’m not very knowledgeable on the subject. I
JAIRAJ.
Oh, you mean I’m hearing things. I’m growing old. Is that what
merely said that because it was Lata who was dancing and . . .
you want to say?
JAIRAJ. Finish what you were saying. (Viswas remains silent.) So now
VISWAS. No! I loved the ashtapadi. How can I hate something when I
we are getting closer to your opinions. You don’t want Lata dancing
don’t even know what it means.
erotic numbers.
LATA. But you can love it, I notice.
LATA. Daddy, you make it sound so crude. ‘Erotic numbers’?
VISWAS. Well, it was tenderly intense and intensely tender and all
JAIRAJ.There’s nothing crude about it. I danced the same item. For
that. But . . .
the army. A friend of ours arranged a programme and the money
JAIRAJ.
But what? You didn’t like her interpretation? What did you was good. Your mother was too scared and they only wanted a
want her to do? Talk to her parrot while she is waiting? woman. So I wore your mother’s costume, a wig and . . . whatever
VISWAS. No, I didn’t mean that. else was necessary to make me look like a woman, and danced.
They loved it. They loved it even more when they found out I was a
LATA. Vishy, you’re being wishy-washy again. man. Of course, knowing the army, that may not be very surprising.
JAIRAJ. Speak up, son. (To Viswas.) What do you say about that?
VISWAS. I admire your courage. Look, I don’t mean I object to her
LATA. What was it that you didn’t like?
dancing. It is her passion and it wouldn’t be fair for me to . . . All I’m
VISWAS. It was too erotic. saying is that . . . What am I saying? (Thinks.) Yes! That it really isn’t
Silence. necessary to make it so . . . you know. At least I don’t think so. Of
JAIRAJ. My wife danced that same item thirty years ago. course, you may think so, but I don’t. And I don’t know what she
thinks about it so . . . (Shrugs his shoulders and laughs nervously.)
VISWAS. I admire her courage.
LATA.It was choreographed by daddy thirty years ago for mummy.
LATA. So—you feel it shouldn’t be done? They won critical acclaim abroad for pieces like the ashtapadi. I fail
VISWAS (uncomfortably). I really can’t say. I don’t know much about to see why I can’t perform the same piece today.
these things. VISWAS.Yes. Of course. If that’s what you really want. Nobody’s
JAIRAJ. But you think you know enough to pass judgement. stopping you.
JAIRAJ. Lucky for her. In the old days . . .
VISWAS. I’m not passing judgement. I simply gave my opinion, that’s
all.
LATA(to Viswas). Do you want to stop me? You can’t. But do you LATA. What’s wrong?
want to? VISWAS. She is sitting there in the kitchen and crying.
Pause.
LATA. Mummy! (Exits to the kitchen in a hurry.)
VISWAS. Do you remember what you told me? In this very room? One
Jairaj slowly sits down.
right away, and another let us see?
VISWAS. Mind you, she could have been cutting onions. I didn’t notice.
LATA (smiling). Yes.
JAIRAJ (to himself). She will be all right. She is crying.
VISWAS (sincerely). Does that still hold good?
VISWAS. If you need me I could stay. (No response.) But I should
LATA (returning his sincerity). Yes.
really be going. So—if you don’t mind, bye. (No response. Shrugs
VISWAS.Thank you. I hope your father will teach you some more . . . his shoulders and mutters.) Strange people. (Exits through the living
ashtapadis. (To Jairaj.) Now if you don’t mind, I have to rush to the room.)
shop and supervise the making of jalebis. My father is busy chasing Lata enters with Ratna.
government officials to sanction a plan for a multi-storeyed mithai
RATNA. It’s all right.
complex.
LATA. Why don’t you go up and lie down for a while?
JAIRAJ. That would be a paradise for the Marwari community.
RATNA. No, no. I’m okay.
LATA. Won’t you stay for breakfast?
LATA. Sit down. Shall I make you some coffee?
VISWAS. No. I really must go before the cooks steal all the ghee. I’ll
just make my excuses to your mother and be on my way, (Exits to RATNA (sits). No, just put the cooker on the stove.
the kitchen.) Lata picks up the tray of coffee.
LATA. What do you think of him? JAIRAJ. Breakfast isn’t ready? What were you doing in the kitchen?
JAIRAJ. A bit strange, isn’t he? (Lata looks Jairaj disapprovingly and exits to the kitchen with the
tray.) One of your headaches? Or is it depression now that ail the
LATA (sighs). He has his quirks. Like the rest of us.
excitement of Lata’s performance is over? It’s too early in the day to
JAIRAJ. Wonder what his father is like. drink.
LATA. You’ll soon meet him. (Collects all the newspapers.) RATNA. I don’t want a drink.

VISWAS(enters and speaks hesitantly). I think you’d better see how JAIRAJ. Then any particular reason for this change in mood?
your mother is feeling. RATNA. Don’t you have changes in moods?
Lata and Jairaj get up.
JAIRAJ. Yes, but I don’t sit in the kitchen crying. JAIRAJ. She is a dancer.
RATNA. No. You sit in this room drinking! RATNA. Of course. Everyone has recognized that now. After my
JAIRAJ.I strongly recommend it. It keeps you from crying. Look at me. efforts . . .
I never cry. JAIRAJ. Our efforts.
RATNA. That is because you are a . . . man! RATNA. Yes.
JAIRAJ.
Thank you. You haven’t been so complimentary on previous JAIRAJ: And you are happy?
occasions.
RATNA. What a question to ask!
RATNA. Now don’t start . . .
JAIRAJ. Are you happy for her?
JAIRAJ. All right. We won’t discuss my gender. Let’s talk about you.
RATNA. Of course! She . . . she is on her way to fame which is what I
RATNA. Same thing. You talk about me, we talk about you. wanted for her. She had my blessings and guidance and now that
JAIRAJ. Not if I choose the subject. her performance has been noticed by the right people, it shouldn’t be
very difficult for her to . . . Naturally, she will have to practise very
RATNA. When were we ever short of subjects? hard and take her career very seriously. And then there’s the foreign
JAIRAJ.
A suitable subject. You are sixty and I’m sixty-two. It’s time we festival. I shall try my level best to see that she is included. I will use
become selective. all my contacts and see that she is in. Yes, I have every reason to
feel happy.
RATNA. What subject?
JAIRAJ. Have you read the reviews?
JAIRAJ. Shankar.
RATNA. Not all of them. Not yet.
Pause.
JAIRAJ. Don’t you want to read them?
RATNA (pleading). Anything but that. Please!
RATNA. Yes! I was meaning to . . .
JAIRAJ. Oh, that displeases you immensely, doesn’t it?
JAIRAJ. Why didn’t you read them earlier?
RATNA. Go on! Say it. Do your worst. I’m too tired to fight it.
RATNA (picks up the papers). Well, I’ll read them now. I was busy
JAIRAJ. No. That would be too easy. Let’s talk about something else.
earlier what with Viswas dropping in and . . .
RATNA. You never talk, you attack!
JAIRAJ. He brought the papers.
JAIRAJ. That I learnt from you. Let’s talk about Lata.
RATNA (searches the papers nervously). Yes, but I was in the kitchen .
RATNA. What about her? ..
JAIRAJ. Weren’t you interested in knowing what kind of reviews . . . ? JAIRAJ.They don’t belong there. (Silence.) Those critics gave her
RATNA. I know what kind of reviews she’s got . . . good reviews because she deserved them. They weren’t doing you
any favours. Face it, woman.
JAIRAJ. You haven’t even looked . . .
LATA (off, cheerfully). Breakfast is ready. Come and get it!
RATNA (shouting). I heard. Rave reviews! The star of the festival! The
JAIRAJ.I’m sorry, Ratna. I don’t want to see you pasting those reviews
dancer of the decade! And why shouldn’t she get reviews like these?
in our album—pretending they are yours.
I deserved it. Spending sleepless nights arranging things. Sweet-
talking the critics. My hard work has paid off, hasn’t it? Hasn’t it? LATA (off). I’m serving hot, hot idlis! Eat them while they’re hot!
(Takes the papers and makes for the bedroom.)
JAIRAJ. Come. Let’s have breakfast.
JAIRAJ. Where are you going?
RATNA (weakly). I’m not hungry. (Goes towards the bedroom,
RATNA. I have to paste these reviews in our album. clutching the papers to her heart.)
JAIRAJ. Our album? JAIRAJ.Ratna. (Ratna stops.) At least you have a daughter to be
RATNA. Yes. jealous of.
RATNA (breaks down). Oh! (Exits quickly to her bedroom.)
JAIRAJ. You’re going to paste her reviews in our album?
Flute music takes over, Jairaj exits to the kitchen. The living room
RATNA. Why not? There’s plenty of space! changes to the garden, bathed in moonlight. After a while the younger
Ratna and Jairaj enter from the garden. Ratna is wearing a splendid
JAIRAJ. She deserves an album of her own. Bharatanatyam costume which she has covered with a shawl. Jairaj is in
RATNA. We don’t have another album in the house. an ordinary kurta-pyjama suit. He is evidently drunk.

JAIRAJ. Walk in! The doors of hell are wide open.

JAIRAJ. Well, it’s time we did!
RATNA. Shh!
RATNA. All right. You go and buy one. But these I’m pasting in my
album. JAIRAJ. Come in, Ratna Devi. Into the house of Sri Amritlal Parekh.
JAIRAJ. Our album. RATNA. Quiet. You’ll wake . . .
RATNA. Yes! JAIRAJ.The seth of the house is not in! He’s away receiving awards
JAIRAJ. You are not pasting these reviews in our album. for serving the nation—while his Lakshmi-of-the-house has been
away receiving (claps) acclaim for her . . . talents.
RATNA. I will.
RATNA. Shut up, Jai. You’ll wake the baby.
JAIRAJ (mockingly). Oh! The baby! I forgot about him. Our little baby RATNA. Where is that new ayah? Probably fast asleep on the kitchen
is fast asleep. We mustn’t disturb him. Where are you going? floor. She should have been near the baby, in case he gets hungry.
RATNA. Up. To see if he’s all right. JAIRAJ. You should have been near the baby.
JAIRAJ. Yes. Let’s go up. Up. To see if baby’s all right. RATNA.I should have asked you to stay back. At least you would
RATNA. You stay right here. Till you learn to be quiet. have been of some use here!
JAIRAJ.You didn’t think I was useful there? I clapped the loudest.
JAIRAJ.Oh, I will be quiet! (Whispers.) Real quiet. Come, let’s go up
(Claps loudly.)
real quiet. (Hiccups loudly.)
RATNA. Stop it. I’m going to bed. You can sleep here.
RATNA(pushes him away). Stay here, you drunkard. Don’t you dare
come up. (Exits to the bedroom.) JAIRAJ.
Oh. Have I disappointed you? You don’t want to sleep with
JAIRAJ (to himself). Yes. Yes, I’ll stay here. You go and see how our me? Never again?
little Shankar is sleeping. Make sure his nose is dry and his bed isn’t RATNA. Don’t talk nonsense. You are in no condition to be sleeping
wet. His grandfather checks his mattress every morning. He even next to my baby. You stink.
turns him over and checks his backside. Then grandfather sticks his
JAIRAJ.
And our baby can sleep next to you—with your strong smell of
finger in his mouth and checks his gums. Once his teeth are fully
jasmine and cheap attar?
grown, I hope he bites him. (Makes a snapping motion.) Then when
he grows up, I’ll teach him how to dance—the dance of Shiva. The RATNA(removes her shawl and throws it at Jairaj). Here, don’t bother
dance of a man. And when he is ready, I’ll bring him to his coming up.
grandfather and make him dance on his head—the tandava nritya. (admiring Ratna’s costume). What a beauty you are! Is that
JAIRAJ
(Strikes the Nataraja pose and hops about wildly.) The lord of dance,
why you like to dance? To have men admire your assets?
beating his drum and trampling on the demon. (Loses his balance
and crashes. Ratna enters and helps him to his feet.) How is our little RATNA (scornfully). Why do you dance?
lord of dance? JAIRAJ (mocking). Oh, but I don’t. I’m not good enough.
RATNA. I don’t know. I was too scared to wake him so I didn’t turn on RATNA. How can you be when you’re drunk half the time?
the lamp. I just stood there by him but he didn’t make a sound.
JAIRAJ.Oh. I thought I drank because I wasn’t good enough. Like the
JAIRAJ. Good. Very good. He is in dreamland. Let him stay there. It’s
riddle—which came first: the egg or the chicken?
a far better place than this! Tomorrow I’m going to have a board
RATNA. You can riddles all you want. I’m tired.
hung outside this house saying, ‘If ever there is a paradise, it isn’t
this, it isn’t this, it isn’t this . . .’ JAIRAJ. Wait. I want to talk.
RATNA. What about? RATNA. I didn’t ask for such a sacrifice. Tell me what you want in
JAIRAJ. Anything. I just want to talk to somebody. Even you. return. I’ll do anything except sacrifice a year of my life in return.
JAIRAJ. I want you to give me back my self-esteem!
RATNA. I’m tired.
RATNA. When did I ever take it?
JAIRAJ.The choice is between you and the ayah sleeping on the
kitchen floor. I choose you. JAIRAJ. Bit by bit. You took it when you insisted on top billing in all our
RATNA. I choose to go to bed. (Goes towards the bedroom.) programmes. You took it when you made me dance my weakest
items. You took it when you arranged the lighting so that I was
JAIRAJ. Good idea. (Also goes towards the bedroom.) literally dancing in your shadow. And when you called me names in
RATNA (turns around). What do you want from me? front of other people. Names I feel ashamed to repeat even in
private. And you call me disgusting.
JAIRAJ. The decency to talk to me when I’m lonely.
RATNA.You just don’t want to face it. It is me they want to see
RATNA. Talk about what? Talk about how you insult me in front of dancing.
other people? How you make me feel ashamed of you? How . . .
JAIRAJ. A young beautiful woman, yes.
how disgusting you are? Oh, for God’s sake, Jairaj, do something
useful before it’s too late! RATNA.A young beautiful woman! And you are jealous of me for that?
JAIRAJ. Do something that’s useful to you, you mean. What kind of a man are you?
JAIRAJ. Oh, you are so clever. No wonder you get along well with him.
RATNA. Do something. Do anything, but stop this mockery.
RATNA. Get along well with whom?
JAIRAJ.
Do anything except be a dancer. Do something useful like
choreographing items for you, or playing the flute. JAIRAJ. My father. It was him, wasn’t it?
RATNA. You are not even good at that anymore. RATNA. I don’t know what you . . .
JAIRAJ. Whose fault is that? JAIRAJ.
Don’t pretend, I am not blind. Why did he allow us to dance?
RATNA.You go on drowning yourself in country liquor and ask me He knew he had us in his hands when we came back to him. We
whose fault is that? would have listened to anything he said.
RATNA.You would have listened. Not me. Yes! He realized he couldn’t
JAIRAJ. Whose fault is it that only you get invitations to dance?
stop me. But he could stop you—through me.
RATNA. Surely not mine.
JAIRAJ.You mean he would sooner watch me turn into a drunkard
JAIRAJ.
For one full year. For one full year I refused to dance—turning than see me dance?
down offers because I didn’t want to dance alone.
RATNA. That is your own doing. He regrets it happened this way—and danced alone, your mediocrity would be exposed? Yes, ask yourself
so do I. your true worth and you will get your answer. Yes, I did cut you off
but then you deserved it! So don’t come to me saying I destroyed
JAIRAJ.Do you? I think you prefer it this way. He lets you do what you
you. I didn’t have to. You did it all by yourself. And don’t expect me to
want and you have me out of your way. He in turn is grateful to you.
feel sorry for you, because I’m too busy feeling sorry for myself and
My father is always asking me to grow up. Well, this is a perverse
Shankar. When he is a little older, he will feel the need for a father.
way of thrusting me into adulthood.
Oh, you will be around all right. Where will you go? But all he will see
RATNA. To each his own perversity. is your exterior. It won’t take him long to realize that (points to his
JAIRAJ. And what is yours? head) there’s nobody home! (Moves towards the bedroom.)
JAIRAJ (pause, then suddenly). If you take the trouble to knock, you’ll
RATNA. Agreeing with your father. Letting you off so that he could
find someone home. (Gets up.) Are you all there for Shankar? He
shape you into whatever shape he thinks a man should have. I
needs you now. Where are you?
should have guessed the result. When I say I regret it, I really mean
that, jai. RATNA. I know my duties and my capabilities. And I have always
JAIRAJ. Oh, you are brilliant! I truly am jealous of you. You are quite a taken pride in knowing where I stand.
looker, quite a dancer and quite an actress! One has to hand it to JAIRAJ.Over there? In that loud costume? Screaming out to everyone
you. You really have style. Not to mention brains. You destroy me ‘Here I am’? Is that where you are?
first, then give the impression that there wasn’t much to destroy in
RATNA. That’s really fancy, coming from a drunkard like you.
the first place, then blame it all on my father, then suggest 1 make
myself useful by being your stage prop, then use words like ‘regret’ JAIRAJ.
No matter how clever an actress you are, you can’t convince
and expect me to shrug my shoulders, resign myself and believe that me that you are playing the part of devoted mother very well. You
my calling in life is to serve you. Thank you very much for the talk. It wouldn’t even know where to start.
has been an illuminating one. Good night. It’s time to feed the baby. RATNA. I can start by ending this sick talk with you and feeding the
(Lies down on the sofa and covers himself with the shawl.)
baby. If you have nothing else to say, good night.
RATNA. Oh, how easily you fool yourself. You think you are covered,
JAIRAJ (scornfully). Feeding the baby. That won’t be necessary. He is
don’t you? (Throws the shawl away from Jairaj.) I’m not going to let
fast asleep. He won’t miss his meal.
you off so easily. You can’t blame us for your state and get away with
it. What do you want? Ask yourself Do you want freedom? You had it RATNA. How do you know? He usually wakes up at this hour.
and you came back to your prison. (He covers himself again.) Do JAIRAJ. Not on the nights you perform.
you want to dance? (Removes the shawl. He shuts his eyes and
RATNA. What do you mean?
pretends to be asleep.) Why didn’t you accept those invitations when
they came? Was it because of me or were you too afraid that if you JAIRAJ. The ayah.
RATNA (attentively). Go on. buildings in the old days. And tough people. But even tough people
like my father get knocked down.
JAIRAJ.
You wouldn’t know. An old trick banded down from one
generation of ayahs to the next. I know. I was raised by one. Spotlight picks up the younger Jairaj and Ratna in the dance hall. They
are both in dance costume. Ratna is helping Jairaj with his sash and they
RATNA (grimly). Opium. both wear their dancing bells during the older Jairaj’s speech. They smile
a lot and perhaps even laugh.
JAIRAJ.
Effective, isn’t it? He hasn’t cried at all. Don’t worry, they
We have moved to our flat. A posh flat. Our balcony overlooks the
always give just the right amount.
top of a gulmohar tree. They were planning to cut it off, I’m told. It
RATNA (panicky). She too? obstructs the traffic. But it was saved by a group of retired old men in
JAIRAJ. Yes. She too. She too wants a restful sleep on the kitchen this building. I think I was one of them. Did I tell you Lata had called
floor, same as her mother and her mother’s mother. when you had gone to visit Chandra Kala? She was happy to know
that you two are the best of friends. I told her how much you two
RATNA. She too has given . . . Shankar . . . ? have in common. Arthritis to start with. She called to say that her
JAIRAJ (gets up). What do you mean? baby spoke her first word today. It sounded like ‘jalebi’.
A low beat on the mridangam is heard. Ratna looks at him terror-stricken. The younger Jairaj strikes a pose. The younger Ratna laughs and hits
Jairaj advances towards her. him playfully.

What did you say? She too has given Shankar? (Grabs Ratna.) Today my liver ceased to function. And I followed suit. You died too.
What did you say? She too has given Shankar? (Lets go of her.) Out of boredom, I suspect. Our flat is empty now. It belongs to Lata
You? and Viswas. I see you coming to what seems to be heaven, riding
with Death on a buffalo. You get off and I greet you. The buffalo
RATNA (screaming). No! vanishes. (Flute.) And we embrace. We smile. And we dance.
Jairaj rushes up the stairs. Ratna looks up and slowly goes up the stairs The younger Jairaj and Ratna smile and embrace.
as music plays. The lights dim. She exits hurriedly.
The music culminates in a scream which comes from the older Ratna.
We dance perfectly. In unison. Not missing a step or a beat. We talk
The garden changes into the living room. The music however continues, and laugh at all the mistakes we made in our previous dances.
perhaps muted. The lights remain subdued. The older Ratna comes The younger Ratna strikes a pose which the younger, Jairaj seems to
down the stairs almost in a trance. The older Jairaj enters, and stands in disagree with.
shadows, watching her as she sits down. He moves and stands beside
her. They are both fixed in a spotlight. All sense of time is abandoned We were only human. We lacked the grace. We lacked the brilliance.
now. We lacked the magic to dance like God.
JAIRAJ.It’s settled. We move next month. The demolishers will arrive The younger couple is ready to dance and salute the audience while the
then. They will start with the front. That will be easy to pull down, the music builds up and the spotlights fade.
new portion. This may be a little more difficult. They made tough