‘Mosambi Narangi’ Play Review: A Delectable Cocktail

THE UPSHOT
An adaptation of Irish playwright Marie Jones’ Stones in his Pocket, Mosambi Narangi is directed by Mohit Takalkar. The Hindi play revolves round two small-town movie extras, Mosambi Prasad and Narangi Lal, performed brilliantly by Rajit Kapur and Ajeet Singh Palawat.

Director: Mohit Takalkar
Adapted by:
Ashok Mishra
Cast:
Rajit Kapur, Ajeet Singh Palawat

It’s about two small-time extras with large goals

Flower petals strewn throughout the bottom. Empty bottles of water and wrappers in corners. Makeshift seats long-established from tools. This shabby scene is the set of a Bollywood movie being shot in Benares. It’s a typical sight. As one of many characters factors out, film makers come to small cities to inform native tales and depart a large number. It’s not solely the place that will get handled badly, the folks too are pushed round by metropolis folks.

At the receiving finish are the play’s titular characters, Narangi Lal (Ajeet Singh Palawat) and Mosambi Prasad (Rajit Kapur). They’re each extras engaged on the units of a Bollywood movie titled Isaq Benaraswala being filmed on the ghats. They’re bold, wanting to please and bullied by everybody within the crew, from the stage director Zinnia and the movie’s director Saurabh to the lead actress Sabrina, all of whom are performed by Kapur and Singh Palawat.

The play can be about goals and the frustration of unfulfilled ambitions, a standard expertise amongst filmwallahs, whose careers are salted with failures large and small. Narangi needs to make a blockbuster movie from a script he has written. He tries to promote it to Zinnia, who’s uninterested. Mosambi, then again, needs to play a significant position in a movie. But he’s distracted by the will to turn out to be a buddy with advantages to Sabrina. The goals of each strugglers are dashed, a number of instances.

Sometimes repeated failure has harmful penalties, such because the case of Mosambi’s brother Sonu. When Mosambi and Narangi discuss their goals and Sonu’s, the suggestion is that we regularly anticipate an excessive amount of of ourselves.

Rajit Kapur and Ajeet Singh Palawat are terrific 

Kapur and Singh Palawat effortlessly slip from one position to a different, making every character gloriously watchable. Kapur deftly essays the roles of a Parsi stage supervisor, issuing directions in a comical mixture of Hindi and English, Mosambi’s youthful brother Sonu and Makhan mama, the “most senior junior artist”. Singh Palawat is hilarious as Sabrina, the half-Russian main woman, who speaks dangerous Hindi and is determined to enhance her language abilities,  the no-nonsense film director Saurabh and Sabrina’s indignant younger Punjabi bodyguard, Joginder.

While the second half of the play does lag, general Mosambi Narangi is a pleasant story. The simplicity of the story and units enable the skills of Kapur and Singh Palawat to shine. The efficiency is aided by a catchy title monitor and clever sound results by musicians on stage.