As vivid musical tale on the life of Krishna arrives at a Bandra cultural hub, writer Prasoon Joshi and composers Sachin-Jigar let us in on how being influenced by different avatars of the Lord affected their work
A still from Krishna Kanhaiya
I’ve grown up in Uttarakhand. So, while I’ve been aware of the fact that [Lord Krishna] is referred to as Shrinathji, I was raised celebrating his [avatar] of Krishna Kanhaiya,” says veteran lyricist Prasoon Joshi, only moments before composer duo Sachin-Jigar tell us that as “Krishna bhakts”, they’ve spent their childhood with an appetite for “stories of Shrinathji”. The significance of this difference in the way the same deity is perceived across India is aptly articulated by Joshi when he addresses how the authenticity of mythological tales can be retained across decades. “I have understood that our teachings are both complex and simple at the same time. Several poets have described Krishna differently. While Meera describes him in one way, Surdas [narrates his stories] in another manner. We know that Tulsidas and Surdas are two poets. Tulsidas’s devotion is as a das [one who serves]. On the other hand, Surdas [has served as a] friend. Surdas will take several liberties when it comes to writing poetry about Krishna, because he [is referred to as the] friend. So, while it’s the same God they write about, the [gaze] is different. Neither can you accuse Surdas of being too friendly, nor can you call Tulsidas subservient,” says Joshi, making a case for writers who have revived the tale of the Lord for new generations.
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Composer duo Sachin-Jigar roped in varied instrumentalists to introduce the sonic palettes of different parts of India in the play
Over the course of a year, both Joshi and the composer duo have worked collaboratively to serve as the musical backbone of the newly launched play, Rajadhiraaj: Love, Life, Leela. A passionate celebration of the life of Lord Krishna, the two-hour set unveils several known and unknown chapters of the deity’s life in a musical creation that is as visually arresting as it is sonically appealing. “Our parents and grandparents would sing these songs to us. So, we found in this musical an outlet to express what we had been exposed to. We were influenced by the [music linked to] Shrinathji, and other Krishna bhajans, including the way they were [typically] sung,” says Jigar Saraiya.
Prasoon Joshi
In a bid to reflect the music of Dwarka, Vrindavan, and Mathura, Sachin Sanghvi reveals roping in local instrumentalists who enabled them to introduce the flavours of their respective regions. “While narrating stories about Dwarka, we needed a Kutch influence, so, we called Kutchi dhol players. While describing what transpired in Mathura, we needed North Indian [flavours]. So, instruments like the tabla, dholak and shehnai were used. To showcase Vrindavan, we employed the flute. It was a joy to research on this subject, and Jigar and I thrive on such experiences.”
Joshi, who has penned the script, dialogues, and lyrics of the set, often placed himself in the shoes of the various characters associated with the epic. “I met several scholars and read a lot of [ancient] poetry. While I knew I’d be able to write the script, I wanted to be musically drawn to the project. Music dimag mein machna chahiye. The one thing that I knew for certain is that I wouldn’t destroy the sanctity of the language. I was certain that the language wouldn’t be over-friendly or one that would make people cringe. I had the liberty of being the scriptwriter and the lyricist, but I have used words that this mythology deserves.”
Set to play daily until September 1, the musical does justice to the colourful narrative of Shri Krishna’s life that the masses have grown up consuming. With the music and the choreography fitting together like a hand in glove, the makers leave a viewer with many memorable moments long after the play concludes.
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