The
Script
The Script, October 2006.
Issue 6.
Dear Theatre lover,
October brings with it Diwali and the holiday/shoppping season. Theatre, too, seems be taking a breather before the excitement of the Prithvi Theatre Festival in November. There seem to be a fewer number of shows. But there is an interesting line-up of workshops and events this month.
In this month's edition of The Script, Quasar gives us a peek into the new Tom Stoppard play Rock & Roll showing on the West End. From around the globe, we have an interesting debate on theatre criticism and how far can/should one take it!
At QTP, the focus is now on Thespo as the deadline (1st October) for registering plays is right here! Thespo shifts gears as the most exciting part of the festival is finally here - the screening of the plays! Team Thespo will be traveling in all directions screening plays for a large part of October!
However the one new thing we are doing this month is HIRING. So if you interested in working behind-the-scenes in the theatre email us on qtp@vsnl.com NOW!
Unfortunately, we will be unable to hold the Great Texts reading this month, but will definitely be back in November. The Theatre Club show is still on and we look forward to seeing you there.
Happy reading.
Yours Sincerely,
On Behalf of Q Theatre Productions,
Toral.
Editor, The Script.
|
Trivia
Time Jungle Terrace While entertaining Laurence Olivier in Jamaica one year, Noel Coward took him to a mountaintop retreat to show him the incredible view. Olivier was particularly struck by the jungle terraces sprawling beneath him. "It looks like rows and rows," he remarked, "of empty seats." |
Quick Links:
Corno-Q-pia:
Thespo, Great Texts, Theatre
Club
Point of View:
Quasar on Tom Stoppard's new play Rock
& Roll.
4 Corners:
Theatre criticism - what are the boundaries?
Up & Coming:
All the exciting plays happening in the city!
Great Stuff:
Auditions
and much much more!
Curtain Call:
An Oscar Wilde classic.
Corno-Q-pia
The horn of plenty of QTP events
and happenings.
|
THESPO: The last date for registering plays was 1st October and we received an overwhelming response from young theatre groups all across India. The auditions this year promise to be incredibly exciting and the decision making process equally difficult! The screening panel from Bangalore and Bombay will be traveling to Delhi, Calcutta, Bangalore, Mysore and Bombay for the better part of October in search of the best plays that youth theatre has to offer. Although registrations are over there are still numerous ways you can still be part of Thespo: Volunteer: We are looking for volunteers to help organise and run the festival. There is a volunteer meeting on Friday 6th Oct at 6 pm at the QTP office (18 Anukool, 5th Floor, Sq. Ldr. Harminder Singh Road, 7 Bungalows, Andheri, Mumbai - 400 061). All those who are interested in working in the theatre and have time to spare, this is a wonderful opportunity. You can email thespo@gmail.com or call on 9821008871 for more details or just show up at the given time and place to find out how you can be a part of one of the biggest theatre events in the city. Articles: This year as part of the Thespo magazine we are inviting articles from all and sundry to write pieces on different aspects of theatre. So if you have an idea for an article and want to discuss it, please email us at thespo@gmail.com. No reviews please. Last date for submission of articles is 10 October 2006. Poster Design Competition: For those interested in graphic design and art direction, this is the avenue for you. As soon as all the plays have been screened and the finalists short listed, we are launching the Poster Design Competition. To participate you need to adopt any of the finalist plays and design a poster for it, after reading the script, talking with the director and attending rehearsal. The best posters will be exhibited during the festivals in Bombay and Bangalore. The short list of final plays will be announced by November 3, 2006. The posters need to be ready by the 20th of November. To register for the competition, simply email us on thespo@gmail.com Platform Performance: Now that the mad rush to register the full length plays is over, it is time to turn our attention to the short performances that precede each main show. These pieces need to be between 10 to 15 minutes and will be staged in the foyers of Ranga Shanakara and the NCPA Experimental. Thos interested please email us on thespo@gmail.com. The screening of the platforms performances will most likely take place between 2nd and 5th November. |
| Great
Texts: On the last Monday of each
month people meet in Q's drawing room to read a play they may have heard of
but not necessarily have read. Writer's come to see how the greats wrote,
actors come to play multiple parts and theatre lovers come because it keeps
them in touch with the art form. It is open all and everyone takes turns in
playing characters from the play. Discussions ensue after over tea and
biscuits. Last month we read Our Town by Thornton Wilder. We had a surprisingly good turnout for this American classic. Though everyone agreed it was a bit dated, they also appreciated the importance of the self-reflexive form in the theatre landscape of 1938. Unfortunately, in October we will not be having a Great Texts reading. We will regroup again in November. |
| Theatre
Club: Each month we ear mark one production in the calendar that we
would like to see. After the play, we sit in a cafe over tea and biscuits to
discuss the merits, demerits, reactions that the play might provoke. Anyone
and everyone is welcome to come along. The only cost to being part of the
club is the price of the ticket. So just look for Q or Toral and say you are
here for the Theatre Club, so that we can touch base once the show finishes. Last month had aimed to see Tu, but a change in schedule at Prithvi, made us catch Kaanch ke Khiloney. A Marathi translation of Tennesse Williams' The Glass Menagerie by a group from Pune. A interesting translation but maybe a complete translocation would have been helpful. This month we are going to see Cotton 56,Polyester 84 a play in Hindi directed by Sunil Shanbag at the NCPA Experimental Theatre, 7pm on Saturday 14th October. Be sure to buy your tickets in advance. See you then! |
QL
Point of View:
Quasar on the new Tom Stoppard play 'Rock &
Roll' currently showing on the West End.
70 Years Old and he's still got it!
In the modest world of theatre, there are few marquee names that sell tickets despite having no Hollywood connection. Tom Stoppard and Trevor Nun are two of that select band. So when the likes of Brian Cox, Rufus Sewell and Sinead Cusack line up in Trevor Nun's rehearsal room to give life to Stoppard's new play Rock 'n' Roll, the media hype is bound to be immense. Talk of a new English Classic is already uttered even before the first rehearsal. The big problem with hype is that it often leaves you disappointed. Fortunately this production was an exception to the rule.
Rock and Roll opened three months ago at the Royal Court, before it was transferred to its current home at the Duke of York theatre. Tickets were completely sold out. I spent much time on the phone, trying to pull invisible strings… but to no avail. On the last morning of my trip, I trudged across Leicester Square. My gait resembling my disenchantment at not getting a ticket. I ambled into a discount ticket booth. The lady behind the counter uttered the words I expected “No budget tickets love. And nothings available at the moment,"...and then a ray of hope, "but why don’t you try in half and hour”. I looked at her incredulously. But sure enough an hour later when I reappeared at her booth, she waved two tickets at me, and then took my entire living allowance.
I spent the day as though I was going on a date. Excited at what I was about to witness. Finally evening came and I took my seat in the last row of the stalls, behind large Englishman. Not a good start this. The over hang of the balcony meant that I could only see up to 15 feet of the 30 foot high proscenium. The experience was not getting better…
The lights dimmed, a pipe was heard and the play began.
The story is of Max (Brian Cox), a card carrying communist Cambridge professor and his Czech student Jan (Rufus Sewell), also a believer in the Communist ideal. The action begins in 1968, after the Soviets crush the Dubcek revolution, and leads all the way to the nineties and the fall of communism. The action takes place in two settings. One traces the family of Max in Cambridge - the academic arguments, the easy life, the romances of their daughter Esme, the cancer of his wife Eleanor (Sinead Cusack) and all the great ingredients of family drama. On the other hand we have Jan, who elects to go back to the Soviet occupied Czechoslovakia. We see his two by two apartment, dominated by the wall high collection of music records. His love for Communism destroyed bit by bit by the totalitarian regime, his jail sentences, his dissident friends, his support for rock band Plastic People of the Universe, his literary job and his unemployment. Throughout the play we travel between Prague and Cambridge as we follow the lives of both protagonists and the rare occasions when they intersect. Add to the mix, the omnipresence of rock music - through inter-chapters during the scene changes, albums on Jan's LP player and the character of Syd Barret, and you have compelling drama.
However the play is not the “absurdist” Stoppard. There are no coin games, or deliciously clever word puns. Here is a naturalistic piece, not as clever as some of his other work, and yet more intelligent. There is a constant reminder of the Communist ideal of the “worker” toiling in the fields in the morning, making laws in the afternoon and writing poetry in the evening. Arguments between Jan and Max about how Stalinism is not really true communism, and Dubcek’s revolution, in spite of being socialist, is not real because it was motivated by the ‘self’.
The real genius idea of the play comes out when Jan argues with Czech ‘intellectual dissident’ Ferdinand (Peter Sullivan) about how the dissidents will never make the Soviets leave, because Communism matters to them, while the fans of rock music, just want to be left alone, and that the Soviet Socialists cannot handle.
Jan's struggle to get the latest music albums are juxtaposed by Esme (and eventually her daughter Alice's) regular encounters with former Pink Floyd front man Syd Barrett.
Max’s wife Eleanor is also a professor who is diagnosed with cancer, and some of the scenes between the two are filled with intellectual repartee and insight into dealing with breast cancer. The real coup de grace moment comes when they argue about the state of their relationship, and suddenly Greek lesbian poet Sapho, figures in their argument. I don’t think I followed the argument word to word, but after a moment I took a step back and was hit by the reality and level at which two academicians would fight, calling on all the literary references at their disposal. The scene was fierce, absurd, intellectual, scary, moving and yet so simple.
The play eventually peters out to a happy ending. Jan reunites with his love, now a middle aged Esme; Max gets over his wife’s death and finds love in another woman’s arms (Magda) and his grand daughter Alice finds love with her fellow student, and Czechoslovakia is freed. The rock music plays an inter-chapter, a screen is dropped between each scene, and a song from the era is played. Each song is then listed with when it was recorded, who played what, etc. - all the way from the Beach Boys to the Doors to Led Zeppelin to Queen. However, Syd Barrett appears only once - he opens the play sitting atop the Cambridge house playing the flute. The young Esme calls him Pan, and asks to see his hooved feet. From then on both Esme and later her daughter Alice, talk of meeting him in a super market on a bicycle, and protecting him from the celeb tourists who descend on Cambridge to catch a glimpse of the hermit. The last lines of the play are the reading of Barret’s eulogy, with the lines “Pan is dead” repeated again and again.
On the production front this was a typical British West End production. Strong characterization and performances (especially Rufus Sewell who played Jan), catchy music, beautiful sets that changed in the blink of an eye between Czechoslovakia and Cambridge, a revolving stage, beautiful lighting that conveyed the warmth of the exterior Cambridge with the cold of the indoor Prague, corny happy ending, immaculate make up that aged Jan through the decades and a whole lot more. Yet I left the theatre feeling that I had witnessed something new. All the regular elements pieced together to create something unique.
Part of that credit has to go to Stoppard's script. There were a couple of lovely directorial touches from Trevor Nun. For example in Cambridge everyone speaks with an English accent except Jan who converses with East European emphases. However in Czechoslovakia, Jan and his comrades speak in an English accent. When Ferdinand meets Max’s daughter, he speaks Czech. So throughout the play we are able to understand what is going on and yet able to appreciate the difficulties of communication between the various linguistic groups.
However I feel the play is still not complete. I believe it can be stronger. Not in production, but in text. And now that it has had a stage life, I think when it finally gets published, it will be a stronger text. The other slightly disconcerting thing, is that this could very easily be a movie. It had the same sense of audio history that Mr. Holland’s Opus had. From the premiere writer of our time, this is a bit disappointing, that a brand new play did not have an innate theatrical-ness. I have no doubt, that one day it will make an excellent film.
But perhaps I am being too harsh. All said and done, I paid exorbitant rates for terrible seats and still managed to laugh, cry, feel and appreciate both the human and intellectual beauty on display. The play moved me so much, that it is all I have spoken about for the last week; so if you meet me on the street, you know what's coming!
4
Corners:
An interesting article I read on the online version of The New York Times. It
may seem a bit farfetched for a culture that is yet to take reviewing and
criticism seriously. But on reading this article I felt that may be it is
similar fears that is holding us back. Read on and please do share your views on
the matter with us.
Chicago Critic Criticized for an ‘Unfair’ Review
“Irresponsible” —
Edward Albee.
“Ignorant” —
Stephen Schwartz.
“Incapable of understanding standards of professional and ethical conduct” —
Tony Kushner.
The reviews are in for Hedy Weiss, a theater critic for The Chicago Sun-Times for more than 20 years, and they’re not pretty.
The unlikely source of the outrage is a small 30-year-old theater company called Theater Building Chicago, which helps artists develop original musicals. For 13 years the company has presented a weekend-long festival of musicals in progress, called Stages. In the early years, critics were asked not to review the shows, since the musicals were not finished products. Recently, this request has not been explicit.
Enter Ms. Weiss. She and others have written features about Stages in the past, and in recent years Ms. Weiss has written reviews as well.
The reviews came as a surprise, said Joan Mazzonelli, the executive director of Theater Building Chicago. But no one objected, and Ms. Weiss was always invited back.
This year, Ms. Weiss’s review of Stages, which ran on Aug. 16, three days after the festival, was far more disapproving than in previous years. “The eight deeply flawed new musicals seemed to suggest the art form has fallen on very hard times,” she wrote, adding that none of the shows, “whether in semi-staged or concert-reading style, was ready for prime time.”
Before discussing each musical, Ms. Weiss also wrote that she did not sit through any of the shows in its entirety because of their poor quality.
The review came to the attention of a member of the Dramatists Guild of America, Jeffrey Sweet, who alerted other guild members. A tempest of outraged e-mail messages rose up within the ranks of the guild; contributors included Mr. Albee, Mr. Schwartz and Mr. Kushner, as well as Lynn Ahrens, Alfred Uhry and Theresa Rebeck. On Aug. 24, John Weidman, president of the guild, sent a letter to the publisher and editor of The Sun-Times, along with copies of 22 of the e-mail messages.
Ms. Weiss’s decision to review the musicals, the letter said, “was a shocking and irresponsible betrayal of one of the fundamental understandings which makes the creation of new work possible.” The understanding, the letter continued, is that the workshop process “provides an opportunity for writers to evaluate their work as it evolves, protected from the consequences of critical appraisal.”
The letter, which also condemned Ms. Weiss’s decision to give an opinion on shows she had seen only in part, demanded a public apology.
In a written response to the guild’s letter, Ms. Weiss said that she had reviewed the festival in the past without objection and no one had told her she could not review it this time. She also said the festival was a public event, with an advertising campaign and tickets. (A ticket to one performance cost $15.)
“If you are given a press kit and if you are given pictures,” she asked in a telephone interview yesterday, “what are you supposed to do with them?”
Though Mr. Weidman acknowledged that there might have been a misunderstanding about some of the specifics in this case, he said the general principle was still worth emphasizing: works in development should not be reviewed. An experienced critic like Ms. Weiss, he added, should know that, even if she was not explicitly told.
“A professional critic should not write that kind of piece about works that everyone knew were in development,” he said in an interview. “To publish a review of a work in progress is inappropriate.”
Theater Building Chicago sits quietly in the middle of this tempest. Ms. Mazzonelli has distanced herself from the Dramatists Guild, acknowledging that she had not made the festival’s policy clear to Ms. Weiss, whom she had encouraged to attend, along with other members of the press.
“Call it an error of omission is the best I can tell you,” she said. Then a few minutes later, she added, “What’s in my hands is that Hedy Weiss, who is a major reviewer, is upset with me.”
By Campbell Robertson
Published: August 31, 2006
The New York Times
http://www.nytimes.com/2006/08/31/theater/31crit.html?ex=1314676800&en=35a57148ca86fb85&ei=5088&partner=rssnyt&emc=rss
Up&Coming:
The following
is a list of shows you should watch out for this month. The code to it's
deciphering is as follows:
red is the Theatre Club show
and in blue are QTP events.
Those with an (R) next to them means that we have
reviewed it, and if you require a review simply email us at
qtp@vsnl.com asking for it.
| Date, Day | Time | Play | Notes | Venue |
| 1, Sun | 6 & 9 pm | Hai Mera Dil | Ank presentation. Directed by Dinesh Thakur. | Prithvi |
| 6.30 pm | Snapshots From An Album (R) | A delightful look into the lifetime of a not-always-beautiful relationship. | NCPA Exp. | |
| 2, Mon | 10.30 am - 6 pm | Theatre & Bazaar | A seminar organised by Ank Theatre Group | Prithvi |
| 3, Tue | 9 pm | Mitra | Ank premieres this new play, directed by Dinesh Thakur. | Prithvi |
| 4, Wed | 6 & 9 pm | Mitra | A tale about finding friendship in the most unlikely of places. | Prithvi |
| 5, Thu | 9 pm | Mitra | A proud, self-made man is suddenly forced to reconcile with illness, indifferent children prejudice and finds a friend in the process. | Prithvi |
| 6, Fri | 9 pm | Mitra | Prithvi | |
| 7, Sat | 6 & 9 pm | Jis Lahore Nahin Dekhiya | Partition. 1947. A story of humanity & love in the time of rampant hate. | Prithvi |
| 7 pm | Shirley Valentine | Mahabanoo Mody-Kotwal provides an evening of mirth & entertainment. | NCPA Exp | |
| 8, Sun | 11 am | Kahani Le Lo | A motley collection of timeless tales for children and adults alike. | Prithvi |
| 6 & 9 pm | Mitra | With Dinesh Thakur, Preeta Mathur, Amit Budhiraj & Ashok Varma. | Prithvi | |
| 6.30 pm | Still Single | Written by Anish Trivedi, a story about love, finding & keeping it. | Andrew's | |
| 7 pm | Art | A poignant dissertation on relationships in the guise of a debate on 'What is Art?' | NCPA Exp | |
| 10, Tue | 9 pm | Topi Shukla | An Ank presentation. | Prithvi |
| 11, Wed | 9 pm | Topi Shukla | Directed by Dinesh Thakur. | Prithvi |
| 12, Thu | 9 pm | Hum Dono | A touching story of discovering love in the autumn of one's life. | Prithvi |
| 13, Fri | 9 pm | Hamesha | A delicate adult comedy written by Javed Siddiqui. | Prithvi |
| 14, Sat | 6 & 9 pm | Biwion Ka Madrassa | A farcical comedy about the difficulties of finding the right woman. | Prithvi |
| 7 pm | Cotton 56, Polyester 84 | Written by Ramu Ramanathan & directed by Sunil Shanbag. | NCPA Exp | |
| 15, Sun | 11 am | Kahani Le Lo | Designed & Directed by Dhanendra Kawde. | Prithvi |
| 6 & 9 pm | Anji | A satirical comedy by Vijay Tendulkar, about a lone woman's quest for love. | Prithvi | |
| 6.30 pm | Kaifi Aur Main | A theatrical collage in Urdu by Shabana Azmi & Javed Akhtar. | Tata | |
| 6.30 pm | Cotton 56, Polyester 84 | An unseen peek into the lives of the Bombay mill workers & their city. | NCPA Exp | |
| 17, Tue | 9 pm | Shirley Valentine | A hilarious evening as Shirley shares her views on men, marriage & children! | Prithvi |
| 18, Wed | 9 pm | Art | Yasmina Raza's play directed by Mahabanoo Mody & Kaizad Navroze Kotwal. | Prithvi |
| 19, Thu | 7 & 9 pm | Vagina Monologues (R) | Eve Ensler's seminal work with insights into the woman's mind & heart. | Prithvi |
| 20, Fri | 7 & 9 pm | Vagina Monologues (R) | With Mahabanoo Mody-Kotwal, Dolly Thakore, Jayati Bhatia & others. | Prithvi |
| 21, Sat | 7 & 9 pm | Lift Kara De | A play in Hindi written by Nitin Gupta. A Poor-Box Production. | Prithvi |
| 22, Sun | 7 & 9 pm | Lift Kara De | When seduction goes wrong! A hilarious play about life in Bombay. | Prithvi |
| 6.30 pm | Lily Don't Be Silly | A hilarious Parsi Gujrati play by Dinyar Contractor. | NCPA Exp | |
| 24, Tue | 6 & 9 pm | Raincoat For All Occasions | Hidaayat Ali Sami & Trishla Patel directed by Satyadev Dubey. | Prithvi |
| 25, Wed | 6 & 9 pm | Bhoomityacha Farce | A play in Marathi directed by Ravi Lakhe. | Prithvi |
| 28, Sat | 7 pm | Snapshots From An Album (R) | Written & Directed by Shiv Subrahmanyam. With Hidaayat Ali Sami & Divya Jagdale. | NCPA Exp |
| 29, Sun | 6.30 pm | Snapshots From An Album (R) | Boy meets Girl. They get married. They get divorced. Boy meets Girl again. And then? | NCPA Exp |
You can also check the following websites for
more information:
Prithvi Theatre:
http://www.prithvitheatre.org/
NCPA: http://www.ncpamumbai.com
Nehru Theatre:
www.nehrucentremumbai.com/newsletter.htm
Mumbai Theatre Guide:
http://www.mumbaitheatreguide.com/
Best of Bombay:
www.bestofbombay.com/calendar.php
Great Stuff:
Writers Listen Up: Thespo is
looking for write-ups (upto 1000 words) on or about the theatre that are not
previews or reviews. The articles will be published in the festival
magazine. Those interested can mail us on
thespo@gmail.com or call 9821008871. The last date for submitting articles
is 10th October.
Peter Pan Auditions
We are conducting a series of research auditions in India- looking for remarkable physical performers for a major new version of Peter Pan that will be created for London's famous Roundhouse Theatre in the winter of 2007 or 2008. Similar audition sessions will be held in China, South America and Europe .
We are looking for people of all ages, skills and experience. We are especially interested in performers of great physical skill who have the potential to develop as actors AND highly skilled actors who have the potential to develop their physical skills. The auditions will be held in groups, lasting for up to 4 hours. All those who attend will be asked to perform their particular area of expertise and also to improvise.
Those invited to be in the production would need to commit to training and to a long residency of rehearsal and performance in the UK of at least 4 months starting in the winter of 2007 OR the winter of 2008, with a commitment to return for a second year. If selected, all expenses, pay, care and education of children etc. will be structured on very good UK terms.
Please, we request that if you are interested but uncertain of any aspect of the job or the commitment, come along and audition and we can discuss. Peter Pan is one of the greatest creations of fantasy, yearning, love and the simple tragedy of living. It is a story that deserves the very best performers from across the world.
[Tim Supple, Director, has directed, adapted and devised theatre, opera and film throughout the UK and in the US , Europe, India and the Middle and Far East. Most recently he directed A Midsummer Night' s Dream with performers from across India and Sri Lanka. This production played in Delhi , Mumbai, Chennai and Kolkata before visiting Stratford-upon-Avon and Verona . In 2007 the production will return to the UK for a London run and an extensive tour prior to a major international tour.]
Requirement for auditions: Any highly skilled physical artist like: acrobats,
dancers(classical and folk forms), martial artists (all forms), aerialists (rope
and cloth climbers, trapeze artists etc.), jugglers, gymnasts, contortionists,
musicians with some physical skills, people with any other skills not mentioned
above also welcome.
Sunday 12th Nov and Monday 13th Nov – 9:30am to 5pm
AUDITIONS BY RSVP ONLY
RSVP: Faezeh # 9819228935, Shanaya # 9820039238
SAJJAD ZAHEER PROGRESSIVE DRAMA COMPETITION 2006: To commemorate the occasion of Urdu writer and Marxist thinker Comrade Sajjad Zaheer’s 101st birth anniversary year, Ekjute Theatre Group has announced the Sajjad Zaheer Progressive Drama Competition. Father of noted theatre personality Nadira Babbar, Sajjad Zaheer was a man who used art and literature for mobilising people and bringing about radical changes in society and the world! The Comrade was also instrumental in founding the Progressive Writer’s Association, Pragatisheel Lekhak Sangh and Anjuman e Taraqqi Pasand Musannafin with the likes of Shri Premchand, Shri Mulkraj Anand, Jyoti Ghosh & Mohammad Din Taseer and with the blessings from Gurudev Robindranath Tagore.
Evam Youth Forum announces Making Sense of Theatre - A theatre workshop spanning 7 days wherein everyday a session will be conducted by a different conductor, but exploring a common theme - “Making Sense of Theatre”. The workshop will be an introduction to the diverse styles, methods and philosophies found in different approaches to theatre and an attempt to gain deeper insight into the practice of theatre. It aims to give young and committed theatre aspirants a deeper understanding and awareness of the many varied spheres contained within the magical realm of performance art. Limited number of participants only - please register at the earliest on 022 32400752 / 9820192778 or evamyouthforum@gmail.com.
Pravah theatre laboratory is announcing a 10-day "theatre workshop based on acting" for all above 18 years of age from Friday, 29th September to Sunday, 8th October in Andheri. The workshop is an intensive training of the body, voice and mind of the actor. It is being conducted by Neeraj Kabi from 6 to 9pm daily. For further details contact 9819289504, 9819972204.
Children's Theatre Workshops: Academy of Creative Expression announces workshops for children from 3-14years old at 16 centres all over Bombay. Call 22871851 for details.
"The stage is not merely the
meeting place of all the arts, but is also the return of art to life."
-
Oscar Wilde
Contact QTP: 18 Anukool, 5th Floor, Sq. Ldr. Harminder Singh Road, 7 Bungalows, Andheri, Mumbai - 400 061. Telefax: 2639 2688. Email: qtp@vsnl.com