Badi Buaji
Mantrimandal
Juloos
Panchi Aise Aate Hai
| 1995 Long length |
_ Badal Sarkar |
Directed by - Sarvant Singh Rana
The Play...
Welcome to Yogin Babu's flat, where a young troupe of amateur dramatists are enthusiastically rehearsing for a play. Only two days are left and the director Nitai is facing all sorts of problems. Even the resourceful Shambhu is hard pressed by his dual roles of an actor and the stage manager of the play. All this activity is centered on the heroine of the play Anu, Yoginbabu's daughter.
The whole troupe could not have anticipated the arrival of Anu's Badi Buaji who absolutely hates theatre. Badi Buaji is the sort of woman who terrifies everybody and rules with iron gloves and she had decided that Anu has reached the age of marriage and should be married off as soon as possible.
Now Shambhu, Nitai et.al. prepare to thwart this mighty resolution of Buaji. As the struggle between Shambhu and Buaji builds up the battle is evenly poised. However Buaji's iron will soon made her the favourite to win the bout as esolve stengthened. As Buaji prepared for Anu's marriage, Shambhu and Nitai continue to tax their brains putting the rehearsals on the back burner. His stop gag plan of a whirlwind marriage between Anu and Nitai was rejected by Anu herself thus landing them in more trouble.
On the fateful day when the play was about to be staged, unfortunately the whole situation was in tatters. Considering the huge problems everybody was facing Anu reluctantly agreed to play her part in the play against Buaji's wishes. As the time of staging approached the tension in the air was building. The tussle between Buaji and the rest contrasted the elusive undercurrent of love that flowed between Anu and Shambhu. The situation could have spiralled out of control if Shambhu's bhabiji hadn't intevened. She was the pivot which turned Buaji's will by hundred and eighty degrees. The whole episode had a happy ending with Buaji herself arranging Shambhu's and Anu's marriage. In the whole, a classic feel good play underscoring the emotions which make life so enjoyable and worth living.
Songs
1. Natak
ki chal rahi thi apne zoron pe taiyariyaan
Beech mein aa tapki kahin se Anu ki Badi Buaji
Ba ba ba badi bua ji Anu ki Badi Buaji
"Anu suna", BUA JI (Shhh...)
O Badi Bua... hai re kaisa raub tera
Haan maar daalega hai re aisa raub tera
Jo bhi ho chahe tik nahi paye (2)
Gussa hai tera ya hai toofan
O Badi Bua
Tauba
tauba haan mere tauba
O Badi Bua
Jab bhi tu aayi aandhi laayi (2)
Raani Jhansi ki tu savayi
O Badi Bua
Humko to Phoolan yaad aayi
O Badi Bua
2. Natak tumko dikhlate
hain ye naatak anmol
Rishton ki kheechatani mein tol mol ke bol
Re bhaiya tol mol ke bol
Re bhaiya tol mol ke bol
Laga hai koi jod tod mein koi hai pareshan re bhaiya koi hai pareshan
Nana prasang bhare hain ismein ras ki hai phuhaar
Haan haan ras ki hai phuhaar
Dekho dekho natak apna Badi Buaji naam re bhaiya Badi Buaji naam
Jod tod ki mod mod pe naya mod aata hai
Jod tod ki mod mod pe sar pe chadhe tanaav
Re bhaiya sar par chadhe tanaav
Kaalchakra ghooma jaata hai tik tik tik hai raam re
bhaiya tik tik tik hai raam
Kaam bahut hai samay tanik hai thaam lo ab lagaam re
bhaiya thaam lo ab lagaam
Dekho dekho natak apna Badi Buaji naam re bhaiya Badi Buaji naam
Madhyaantar hai dus minute ka tab tak karo aaraam re bhaiya tak karo aaraam
Aage kya hota hai dekho seat ko lena thaam re bhaiya
seat ko lena thaam re bhaiya seat ko lena thaam
3.
Dhaak
dhina dhin na na dhin dha dha
Bhabhi tere mann mein kya hai bata ja
Na tik dhin dhin na na tik dhin dhin
Neend nahi aayegi tere bataye bin
Ab to bata ja tarsa na bata ja
Dhaak dhina dhin dhina dhin dhina dhin
Buaji maanegi kaise beda paar lagega kaise
Dhinak Dhinak dhin dhin dhin dha dha (2)
Shambhoo to hai dooba jaata samajh mein uski kuchh nahi aata
Dhinak Dhinak dhin dhin dhin dha dha (2)
Dhage na dhinak dha dha (2)
Kaise suljhe yeh ghotala samajh mein kisi ke kuch nahi aata
Samajh mein kisi ke kuch nahi aata kaise suljhe yeh ghotala
| 1996 Thomso Stage |
_ Jeetender Mittal |
Directed by
- Chandan Sinha (B.E. III Chemical) &
Pourush Rai (B.E. III Civil)
Songs
1. Mantrimandal chal rahi diggaj
mahamantriyon ki,
Ekka dukke pe chalate jholi khud ki bharne ko,
Kaun jeetega arre shatranj ke is khel mein,
Aapsi hai phoot dekhon saathiyon ke mele mein,
Dekhte bas jaayen kya hota hai sangram mein,
Teer chalte chaploosi ghaplon ke darmiyan mein.
Woh
hi hai neta jo janta ki kadak hadi chabaata,
Dekh karke kaun kiski kya mohra banaata,
Katile andaaz waale chor man mein nachte,
Kandhon pe sangeen rakh masoom rahi phanste,
Kandhon pe sangeen rakh masoom rahi phanste...
2. Phoot ka dariya baha, koi naa kisi ke
saath tha,
Dushmanon ki chaal se asahay Baijnath tha.
Ragini bhi chod daaman dushmano se jaa mili,
Mantri banne ke liye, hi dor dil ki kaat li,
Imaan na aaya are koi kaam Baijnath ke,
Chod kar ghar chal diye apne he priyevar saath ke
Aadmi mein dosh, irshya, bhav badhta jaata hai,
Iman karne waalon ko aise hi katra jaata hai
Iman karne waalon ko aise hi katra jaata hai...
| 1996 Thomso Street |
_ Badal Sarkar |
Directed by - Ashish Vats (B.E. III Electrical)
Also later staged as Thomso street play 2002
1.
Ant shigra hi hoga dekho
timir ghor andhiyaara,
Aaj nahin to kal aayaga, sukhad vihan hamaara.
Chupa garbh me dharti ke, bhandaar apal khushiyon ka,
Aaj nahin to kal hoga hi, sab kuch saaj hamaara...
| 1996 Passing out |
_ Vijay Tendulkar |
Directed by - Ashutosh Joshi
The Play...
In the realm of Indian theatre this play needs no introduction. Originally intended to be an Indianised version fo the American play- "Rainmaker", the writer came up with an altogether different storyline that has since enamored and enraptured audiences in theatres all over the country.
The feeling that comes from the overwhelming strain of obligations and responsibilities may be quite a familiar one to many of us, nut to the protaganist- Arun, seems to be far removed from it or more aptly makes a conscious effort to remain detached from it. He is a 'free bird'- an itinerant, who not only has the knack of developing an instant rapport with people he meets, but also the propensity of refraining from developing any bonds with those he meets.
It is with this frame of mind that he enters the home of D.W. Paradkar or Anna, as he is called, after catching a glimpse of his daughter Saru. Saru is a cause of much worry for her parents for being rejected time and again by prospective bridegrooms. This makes her parents concerned about her future, while Saru, is piqued by this 'exhibition' of herself and is determined that the story does not repeat itself again. Arun believes that there is more to Saru than that meets the eye, and is confident of her angelic charm and it is only a matter of making her aware of it. He thus becomes instrumental in helping Saru manifest her inner beauty in a more perceivable form and in making her win over the heart of her prospective groom.
But things take an unexpected turn when Saru refuses to marry the man her parents wanted her to, because her heart had been captivated by Arun. There is a furor when she expresses her feelings for Arun. Events take a different course when Vishwas- the prospective bridegroom returns to ask for an explanation for his rejection. On learning about Saru's true feelings, he coaxes her parents into accepting Arun as their son-in-law. Arun, who uptil now is also confused at the turn of events, is also engulfed momentarily into all-powering endearment for the one thing that led him initially into the house- an unpretentious, careless girl, whom he had transformed into an elegant and subtly charming woman. But Arun is not the type of man to be roped into worldly ties, those he had denounced earlier in his life. He therefore decides against reverting back to those bonds, and projects himself as a nefarious and unscrupulous man, and flees away. Saru marries Vishwas, while Arun continues with his life... but not without a face lingering to his memories.