Stage review/ Lavani Ke Rang

 

BY NARENDRA KUSNUR

Lavani Ke Rang/ Hindi commentary, Marathi songs

Director: Bhushan Korgaonkar 

Written by: Bhushan Korgaonkar 

Narrated by Geetanjali Kulkarni

Theatre company: B Spot Productions 

Rating: ****

In January this year, I had interviewed Bhushan Korgaonkar for his work as co-director of Bansuri Jab Gaane Lage, a musical play based on the life of master flautist Pt Hariprasad Chaurasia. He had then told me about his passion for lavani, the musical folk-dance form popular in interior Maharashtra.

So when he sent me a WhatsApp message on Lavani Week 2025, held at the Nita Mukesh Ambani Cultural Centre, (NMACC),  Prithvi Theatre and Saibaba Hotel Malad from April 12 to 19, I was more drawn to the show Lavani Ke Rang at Prithvi on April 17. The other programmes included a workshop by veteran artiste Shakuntalabai Nagarkar at NMACC and the dance drama presentation Love And Lavani.

This being my first lavani show, my earlier understanding of the art form was only basic, restricted to a few songs heard randomly. The crowd around me seemed like a mix of those who knew the subject and first-timers like me. Though the original Marathi songs were used, the commentary was in Hindi. As such, the show was accessible to a larger audience.

Since the music was played before the narrator and dancers came on stage, let's begin with a description of that. The dholki played a prominent part, and the tabla added to the rhythm. A leg harmonium (paaypeti) was unique in that it sounded like a harmonium but was played with both hands.

The programme was introduced by Geetanjali Kulkarni, who said it was fine if one understood Marathi, but okay even if one didn't follow the language as the songs touched the soul and could be felt. She talked about how lavani shows once took place in the Lalbaug, Dadar and Mulund areas of Mumbai but slowly reduced in frequency.

Kulkarni also emphasised that lavani is not performed but played ("lavani khelte hain") and that audiences would enjoy most if they used their hands (to clap) and mouths (to whistle). That made way for the dancers Gita Waikar, Gauri Jadhav, Pushpa Satarkar, the legendary Shakuntalabai Nagarkar and Akshay Malvankar, dressed like a woman. The ghungroos and the percussion at times overshadowed the voices the singers, comprising Pushpa and the experienced Latabai Waikar. Since the venue doesn't use mics, that affected the balance.

Different types of lavani were 'played', from khadi to baithakachi, from traditional to cinematic. Some sections of the crowd was more familiar with the songs used in films, and sang along. Though the subjects also talked of social issues, independence of women and the feeling of joy when a dancer's husband gave up alcohol, a bulk of songs entertained with their naughtiness. Often the dancers picked select young men from the audience and teased them, much to the mirth of everyone else.

There were these fun moments, like when Kulkarni announced that requests would be accepted only if a currency note was donated. If someone gave a higher denomination the earlier request would stand cancelled. One request was of 'Dum Maro Dum' and that was fulfilled too, in lavani style.

There was also this hilarious moment when Kulkarni tried to say a particular English word. Someone in the audience tried to show off by saying in an accent 'Matriarchal'. The narrator snapped back - "Wohi, lekin hamein kabhi bolna nahin aaya".

The 90-minute session went by like a breeze. Hopefully this is the first of many, with more things to learn.