1. Youtube Gujarati Comedy Natak
2. Gujarati Comedy Natak 2017

To Enjoy Gujarati Plays Nonstop, Download Shemaroo Gujarati Natak App on your phone. Give missed call on to download. Or Visit Apple App Store: https://goo.gl/RLBoqe. Rajsthani Comedy Natak - Panya Sapet Ka Anglish Esnan. Gujarati Natak - Best Gujarati Comedy Stage Play. 7 years ago 116.5K views. For all you viewers here is a chance to vote for your best gujarati comedy stage play. If your choice is not a part of this category, you are free to post your comments. The Parsi Natak Mandali (1853), considered the first Parsi theatre group, was owned by Gustadji Dalal and supported by Dadabhai Naoroji, K R Cama and Ardeshir Moos, among others.

Floor generator 3ds max 2015 free download. Parsi theatre was the first to realise the full commercial potential of Shakespeare’s works. The result was King Lear as comedy and a farce called Hamlet No Omelette.

The curtains of the spare, elegant sitting room have been drawn against the April sun, and the noise of traffic on the busy Veer Nariman Road is muted. A fan whirs over us, but apart from its soft susurration, the only sound in the room is that of Sam Kerawala singing, “Tu kyaan gayi mari, wahli? (Where have you gone, my dear?)”. Perched on the edge of a sofa, the Mumbai theatre veteran is trying to give us an idea of the treatment that Shakespeare would have once got in Parsi theatre — lots of songs and generous dollops of irreverent Parsi humour. The 84-year-old says he doesn’t recollect which play it was. “I was only a tiny tot, you see. I didn’t even realise that what I was watching was based on Shakespeare,” he says. All he knew was that once the curtains went up, it was time to sit back and enjoy the histrionics, while munching on salted pistachios sold at the theatre. “Pistachios have become so expensive now,” he says, shaking his head ruefully.

Article by Pooja Pillai The Indian Express

In the years since the price of nuts skyrocketed, much has changed in Parsi theatre. Shakespeare, for instance, no longer inspires playwrights to touch the heights of farce. In the heyday of Parsi theatre, however, many of the Bard’s masterpieces, such as Othello, Hamlet, Romeo and Juliet, A Midsummer Night’s Dream and Merchant of Venice were liberally harvested for laughs. The writers and directors of these plays didn’t feel the need to be weighed down by the great themes of betrayal, ambition, guilt and chaos explored in the original works.

The productions that Kerawala recalls watching were laugh riots, performed with gusto by the actors and loved by the audience. At least a few of these were by the legendary Adi Marzban who, veteran actor Burjor Patel recalls, brought his unerring sense of the comic and the absurd even to Shakespearean tragedies such as Romeo and Juliet and Hamlet — and turned them into parodies in the 1950s and 1960s.

Parsi theatre’s connection to Shakespeare goes further back, to the middle of the 19th century when modern Indian theatre was coming into its own. It was the first to adapt Shakespeare in an Indian language — Nathari Firangiz Thekani Avi (A Bad European Woman Brought to Sense) was most likely an adaptation of The Taming of the Shrew. According to playwright and scholar Sisir Kumar Das, whose essay “Shakespeare in Indian Languages” can be found in the book India’s Shakespeare, the text was in Gujarati and the play was staged in Surat in 1852. Keeping in mind the sentiments of the audience, the adaptation shied away from having an Indian version of Katherina as the titular shrew, choosing instead, to keep her European. Das writes, “The use of the title Nathari Firangiz is a clever device to appropriate the story that satisfies Indian male chauvinism without demeaning Indian womanhood, while underlining Indian criticism of the European female. It was important for the translator to remind his reader that Kate was not an Indian but a firangi.”

Parsi theatre was probably the first to realise the full commercial potential of Shakespeare and presented lavish productions, replete with music, elaborate costumes and backdrops and plenty of props. The locales and character names were suitably changed, comic situations were contrived in serious plays and the elements of Indian dance and music were incorporated into the narrative. Das writes, “In Parsi theatre versions of Shakespeare, one finds Portia singing passionate songs; Viola and Sebastian escaping in the opening scene of Twelfth Night in a train which, during a thunderstorm, plunges into the sea; Antony continuing to live after Cleopatra meets her violent death; King Lear is turned into a comedy, and the plots of Richard III and King John are fused into a single play.”

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This Indianisation of the Bard of Avon would have been nothing short of revolutionary. As described in the essay “Shakespeare on the Stages of Asia” from The Cambridge Companion to Shakespeare on Stage, this was after all an era when Kolkata’s English expatriate community was shocked to see “a real unpainted nigger Othello”, Bengali actor Baishnav Charan Auddy, who played the title role opposite English actress Mrs Anderson in 1848.

The audience lapped it up, often showering the the actors with gifts and money to show their appreciation. Parsi theatre companies produced versions of the Bard’s plays in Gujarati and Urdu, such as Har Jit (King Lear) by New Parsi Victoria Theatrical Company, or the many plays written by Agha Hashar Kashmiri, who was known as the “Shakespeare of Urdu”. Kashmiri formed the Indian Shakespeare Theatrical Company and wrote such adaptations as Murid-e-Shak (The Winter’s Tale) and Saeed-e-Havas (King John). The flag for Shakespeare in English was kept flying by a rare few, such as the dramatic club of Elphinstone College in Mumbai. As theatrical companies like the Victoria Natak Mandali grew more popular, many toured all over India, even going to Mandalay in Myanmar, Bangkok and Java. As Das writes, “It, of course, changed the characters and situations of Shakespeare plays beyond recognition, but the outcome was the growth of a new urban theatre of the masses.”

Actors gained fame for their roles, such as Pestanji Framji Madan who, with his beautiful face and sweet voice, was a popular choice for female roles. Sohrab Modi, one of the pioneers of Indian cinema, first found renown as a Shakespearean actor, performing in plays such as Khoon ka Khoon (Hamlet) and Saaed-e-Havas (King John).

In the 20th century, these Shakespeare adaptations strayed further and further away from the spirit of the source material, till writers mainly mined the original plays only for farce. Marzban was someone who did this extremely well, but he wasn’t the only one. As writer Meher Marfatia records in her book Laughter in the House: 20th Century Parsi Theatre, a theatre-for-charity tradition called Parsi Medical Amateurs, presented “outrageous spoofs of tragedies such as Hamlet no Omelette and Manchoo Macbeth”, first from 1917 to the 1950s, and then from 1970s to 1995. The pioneer of this tradition was Dr Jehangir Wadia, who also wrote, directed and acted in these plays, besides designing costumes and sets.

Youtube Gujarati Comedy Natak

Kerawala, who helped out backstage as a boy, says, “Dr Wadia made Hamlet into a complete parody. In one scene, he showed the king sleeping on a couch. Then two characters come onstage with a huge funnel, like the ones used to pour petrol in tankers, and they try to kill him by pouring poison in his ears. That’s the beauty of Shakespeare’s plays. They are great story platforms. Once you have got the essence, you can do a lot with them.”

– See more at: http://indianexpress.com/article/lifestyle/art-and-culture/a-time-for-natak-2767246/#sthash.niaYqJ17.dpuf

Shaimak Davar must be feeling disposed. Up until April this year, his shows would lead to a beeline for tickets at the NCPA. Then came this strange - one-of-its-kind variety entertainment show by the most dwindling population in the world, the Parsees. Where the tickets sell out on day one itself. One wonders if half the Parsi population is in that line.
When the title of a play has the word - 'Laughter' in it - you expect nothing less than numerous moments that can be summed up in internet slang - LOL, ROFL, LMAO, and that is exactly what you get. The variety act is a tribute to the Late Adi Marzban who was famous for his farcical content. The tribute is put together by his most loyal students and actors, who are living out their twilight years on the Tata Theatre stage at the NCPA.
The play has everything a variety show needs - song, dance, gags and .. oh yes - a compare trying to hold it together. All of which happens with seamless ease. The show starts off with the stalwarts of Parsi theatre assembling on stage to sing what they call the Parsi National Anthem. Simply their entry onto stage was adequate to garner a standing ovation. Humble as they are, each one of them, old and young, puts on their colourful velvet prayer cap before proceeding to sing. The golden oldies sing with ease, while their younger counterparts seem to be lip-syncing - hoping nobody will realize they don't know the words to the song.
The gags that follow are hilarious. Anybody with a sense of humour can enjoy them. And Director Sam Kerawala - (THE RUMMY GAME, MISS BINDASS, FARAMJI NI FILM UTRI - the list is endless) has smartly mixed the old and new cast into a great set of 3 - 4 minute performances.
Not to play spoiler - but the gag that had the audience justify the title of the play the most was of a young school boy whose teacher doesn't allow him to add numbers on his fingers and makes him put his hands in his pockets - and then asks - 'what is five plus five?' .. Parsi and English Theatre's promising and talented actor - Danesh Irani - fiddles in his pockets before replying - 'Eleven'..
Such is the humour of Adi Marzban and Parsi Theatre.
The opening show, which was Adi Marzban's birthday, saw one of his students - one certain - Boman Irani - exercising his vocal chords, and the audience warming up their hands with applause. But sadly he is no longer part of the show and his replacement - Sheriar Irani - is one of the biggest disappointments of the show along with the completely out of place dances by Hormuz Khambata's troupe. Sheriar sings, what he thinks, are funny versions of songs - with lyrics he has made up.
The tagline of the show is Nostalgia - and when you see the dance numbers - one gets nostalgic about the previous night's nightmares coming true. They're not just out of place in an otherwise hilarious show, but the dancers seem to be 'wooing' themselves. It took me a while to realize that the cheering is not happening from the audience, but from the stage itself.
The Pappa from the Munnabhai movie - Bomi Dotiwala seems to be the show stealer. He is in majority of the gags and sings his version of Sorrento in Parsi - Gujarati, which has both the young and old in splits. Bomi and his wife - Dolly - seem to be Sam's favorites and appear in most of the gags.
Hats off to the director for trying to give everybody a chance to come up on stage. There are certain actors who literally just appear in a single gag and one of the ladies comes only towards the end as part of the Qawali to clap, and not even sing. To her I say - Attend every rehearsal - clapping is a very complicated art! Speaking of the Qawali - it drags out a bit and the band seems to overpower them with their stubborn need to be loud and unclear.
Fali Unwala's set is as Parsi as it gets. Red pin-stripped walls with an entrance on either side, and a bench and sofa. Works in every Parsi natak. Marzban Mehta's band is thoroughly entertaining, and I would love for him to play at my Parsi wedding, but for now can we hear the artists instead please? The band overpowers the singing.
Amongst the artists - there is a tussle between the three couples on stage for supremacy - Burjor and Ruby Patel, Rohinton and Scherry Mody, and Bomi and Dolly Dotiwala. Each pair more entertaining than the other. Pervez Mehta and his God-like, James Earl Jones voice is worth listening to. Age unfortunately has him restricted to performing a couple of gags only. One would have loved to see more of him.
Amongst the youngsters - it's Danesh Irani who appears in most of the gags and songs. Director Sam Kerawala swears by Danesh and believes him to be Parsi Theatre's next Superstar. And you cannot argue with Sam. Full stop. None of the other youngsters have a significant role.
The MC - Jim Vimadalal (LIKE DAT ONLY, BUTTERFLIES ARE FREE) - takes center stage - no wait - stage right - no wait - again center stage - ..no.. stage right.. Stick to one spot MC! But apart from that - he delivers with ease. Surely knows how to crack up an audience with his little cue cards and freshly pressed tuxedo. Jim has a good personality and is an asset in any Parsi production.

Gujarati Comedy Natak 2017

Don't take your kids for this one - they probably will get bored. Instead - kids - take your parents - let them have a good time reminiscing the golden era of Adi Marzban, a legend in his own right. Provided you are lucky to get the tickets!
Meherzad Patel is a writer, director and actor. He found his theatre company Silly Point Productions in 2008. The group has produced 9 plays so far which include THE CLASS ACT, RUSTY SCREWS and their latest, BLACK COMEDY.

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