Acclaimed Indian theatre director Feroz Abbas Khan is back with another theatrical play titled ‘Letters of Suresh’ which explores themes of love, loss, death, search for peace and solace amid acute existential loneliness in today’s relationships. Starring Vir Hirani, the play will be staged at the NMACC in Mumbai from May 9 to 12, the first time in India.&nbsp;

Feroz Abbas Khan returns with a new play after having wowed audiences all around the globe with India’s answer to Broadway-style plays, complete with exquisite sets, well-manicured actors and their designer apparel, over-the-top choreography and a love story that is timeless in ‘Mughal-e-Azam: The Musical’. Here, Feroz Abbas Khan opens up on new play ‘Letters of Suresh’ toying with difficult emotions, riding on Mughal-e-Azam’s success amid rediscovered love for theatrical plays in a post-pandemic world.&nbsp;

Here are the excerpts:&nbsp;

Q: ‘Mughal-e-Azam: The Musical’ has been a crown jewel in your works of theatrical plays and now you are ready to release another. What can you tell us about Letters of Suresh? What can the audiences expect?

A: The writing and the way this play has been crafted is very special. It evokes an experience that defies words. I think, to try and capture its essence in words would dilute its beauty. This is an emotionally devastating creation. With every play, the audience's expectations are different. For instance, when you come to watch &nbsp;'Mughal-e-Azam: The Musical', you expect a visual extravaganza that is larger-than-life. But with 'Letters of Suresh', the audience will expect a very different experience.&nbsp;

<img alt="Mughal-e-Azam" data-entity-type="file" data-entity-uuid="8b7c145f-89d2-4739-9bd3-dbfb3e7c1db8" src="//cdn.wionews.com/sites/default/files/inline-images/HORIZONS%20%2816%29.png" />

It's a series of monologues about four people yearning for a connection. It's a very beautiful epistolary narrative where these four people are communicating with each other through letters and trying to forge a tenuous bond. This yearning is at the heart of the play. It's a very identifiable series of interconnected stories about four intertwined lives.

Q: What role does Vir Hirani play? Does he carry his father’s stardom when working?

A: Vir Hirani portrays a crucial role in 'Letters of Suresh' and in a way, the story chose him. He was perfectly suited for the titular part as he has the requisite sensitivity and depth to essay it. His training at The Royal Academy of Dramatic Art (RADA), talent and dedication also made him the perfect fit for the role. He is very special.&nbsp;

Q: We see a resurgence of theatrical plays today with more people tuning into these, finding new mediums, exploring the age-old art of traditional plays. Why do you think that has happened in the age of OTT?

A: Every medium has a different audience. The audience that watches OTT, has a certain mindset whereas when they are watching a movie, they have different expectations. As for theatre, when you're watching a live performance, you look for a more tangible connection with the performers. &nbsp;Post-pandemic, people are savouring live performances a lot more because they have had enough of watching digital content and want to watch something that challenges their imagination and enriches their souls. They want to encounter real human beings. And that's what gives us the courage to try new things.&nbsp;

Q: What does it take to be an artist to hold his own on stage vs in front of the camera?

A: To hold one's own on stage requires a different set of skills compared to performing in front of a camera. On stage, artists must command the space, project their emotions, and engage with the audience in real time. It's about presence, projection, and the ability to connect directly with the audience, whereas on camera you are more intimate, more reflective subtle and perform in small portions.

Q: After so many years of directing plays, and conceptualising them, what have you learnt on your journey of self-exploration? What do you love the most about this medium? What are some challenges you still meet with?

A: The challenges are always related to production, logistics and funding but I feel, every project has a certain destiny and finds its own way and acquires a life of its own. With &nbsp;'Mughal-e-Azam-The Musical' for instance, having the film's original producers (Shapoorji Pallonji) back us was absolutely providential.&nbsp;

<img alt="Mughal-e-Azam" data-entity-type="file" data-entity-uuid="2cf60d2f-a44a-4bdd-b79b-d3554a402cea" src="//cdn.wionews.com/sites/default/files/inline-images/HORIZONS%20%2815%29_0.png" />

What I absolutely love about theatre is its power of imagination, quality of writing, and engagement with actors and it keeps surprising the creators, actors and audiences with its mercurial energy. As for self-exploration, every play takes me on a new and exciting journey.&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/bollywood/news-exclusive-wolverine-to-ravan-sharad-kelkar-on-voice-acting-and-all-he-gave-up-for-wastelanders-role-714864">Exclusive: Wolverine to Ravan, Sharad Kelkar on voice acting and all he gave up for Marvel's Wastelanders role</a>

Q: I want a comment on the exploration of emotions since the new play is about that. How well can artists emote on stage where the audience is far from the talent vs from a film or show where the camera is positioned right in your face?

A: Rajiv Joseph is a huge talent and this play is very evocative, layered and when working with such a well-crafted piece, a director must understand that they need to put the spotlight on the playwright. The point I am making is that when the director appreciates the depth and nuances of the writing, we are onto something wonderful. Then, the challenge is to ensure that the text is interpreted and performed well. This must be done by actors and they must do justice to the characters because the writer has invested such depth and delicacy in each one.&nbsp;

When the actors can approximate the intention of the playwright, every member of the audience also connects with it. For a play like this, which is primarily about words and acting, it becomes critical that the actors understand the text deeply and bring it to life. Our capacity to feel emotions is much stronger than our ability to express them via our vocabulary, so a director must engage with the actors individually to understand their strengths, find ways to inspire them and clarify the text for them. That's the beauty and the best part of being a director in theatre. As far as this play is concerned, we did workshops, then the actors started rehearsing and only then did we proceed further. If the initial workshops hadn't worked, I would have dropped the play.

Q: How do you feel about the show coming to India?

A: This is a new production premiering for the first time in India with an Indian cast which includes Palomi Ghosh, Vir Hirani, Radhika Sawhney &amp; Harssh Singh.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/pak-actress-sarah-khan-interview-will-be-honoured-to-work-in-bollywood-702681">Pakistani star Sarah Khan thanks Indian fans for success of Zindagi show 'Abdullapur....': Interview</a>

Acclaimed Indian theatre director Feroz Abbas Khan is back with another theatrical play titled ‘Letters of Suresh’ which explores themes of love, loss, death, search for peace and solace amid acute existential loneliness in today’s relationships.

Acclaimed Indian theatre director Feroz Abbas Khan is back with another theatrical play titled ‘Letters of Suresh’ which explores themes of love, loss, death, search for peace and solace amid acute existential loneliness in today’s relationships. Starring Vir Hirani, the play will be staged at the NMACC in Mumbai from May 9 to 12, the first time in India. Feroz Abbas Khan returns with a new play after having wowed audiences all around the globe with India’s answer to Broadway-style plays, complete with exquisite sets, well-manicured actors and their designer apparel, over-the-top choreography and a love story that is timeless in ‘Mughal-e-Azam: The Musical’. Here, Feroz Abbas Khan opens up on new play ‘Letters of Suresh’ toying with difficult emotions, riding on Mughal-e-Azam’s success amid rediscovered love for theatrical plays in a post-pandemic world. Here are the excerpts: Q: ‘Mughal-e-Azam: The Musical’ has been a crown jewel in your works of theatrical plays and now you are ready to release another. What can you tell us about Letters of Suresh? What can the audiences expect? A: The writing and the way this play has been crafted is very special. It evokes an experience that defies words. I think, to try and capture its essence in words would dilute its beauty. This is an emotionally devastating creation. With every play, the audience's expectations are different. For instance, when you come to watch 'Mughal-e-Azam: The Musical', you expect a visual extravaganza that is larger-than-life. But with 'Letters of Suresh', the audience will expect a very different experience. It's a series of monologues about four people yearning for a connection. It's a very beautiful epistolary narrative where these four people are communicating with each other through letters and trying to forge a tenuous bond. This yearning is at the heart of the play. It's a very identifiable series of interconnected stories about four intertwined lives. Q: What role does Vir Hirani play? Does he carry his father’s stardom when working? A: Vir Hirani portrays a crucial role in 'Letters of Suresh' and in a way, the story chose him. He was perfectly suited for the titular part as he has the requisite sensitivity and depth to essay it. His training at The Royal Academy of Dramatic Art (RADA), talent and dedication also made him the perfect fit for the role. He is very special. Q: We see a resurgence of theatrical plays today with more people tuning into these, finding new mediums, exploring the age-old art of traditional plays. Why do you think that has happened in the age of OTT? A: Every medium has a different audience. The audience that watches OTT, has a certain mindset whereas when they are watching a movie, they have different expectations. As for theatre, when you're watching a live performance, you look for a more tangible connection with the performers. Post-pandemic, people are savouring live performances a lot more because they have had enough of watching digital content and want to watch something that challenges their imagination and enriches their souls. They want to encounter real human beings. And that's what gives us the courage to try new things. Q: What does it take to be an artist to hold his own on stage vs in front of the camera? A: To hold one's own on stage requires a different set of skills compared to performing in front of a camera. On stage, artists must command the space, project their emotions, and engage with the audience in real time. It's about presence, projection, and the ability to connect directly with the audience, whereas on camera you are more intimate, more reflective subtle and perform in small portions. Q: After so many years of directing plays, and conceptualising them, what have you learnt on your journey of self-exploration? What do you love the most about this medium? What are some challenges you still meet with? A: The challenges are always related to production, logistics and funding but I feel, every project has a certain destiny and finds its own way and acquires a life of its own. With 'Mughal-e-Azam-The Musical' for instance, having the film's original producers (Shapoorji Pallonji) back us was absolutely providential. What I absolutely love about theatre is its power of imagination, quality of writing, and engagement with actors and it keeps surprising the creators, actors and audiences with its mercurial energy. As for self-exploration, every play takes me on a new and exciting journey. Also read: Exclusive: Wolverine to Ravan, Sharad Kelkar on voice acting and all he gave up for Marvel's Wastelanders role Q: I want a comment on the exploration of emotions since the new play is about that. How well can artists emote on stage where the audience is far from the talent vs from a film or show where the camera is positioned right in your face? A: Rajiv Joseph is a huge talent and this play is very evocative, layered and when working with such a well-crafted piece, a director must understand that they need to put the spotlight on the playwright. The point I am making is that when the director appreciates the depth and nuances of the writing, we are onto something wonderful. Then, the challenge is to ensure that the text is interpreted and performed well. This must be done by actors and they must do justice to the characters because the writer has invested such depth and delicacy in each one. When the actors can approximate the intention of the playwright, every member of the audience also connects with it. For a play like this, which is primarily about words and acting, it becomes critical that the actors understand the text deeply and bring it to life. Our capacity to feel emotions is much stronger than our ability to express them via our vocabulary, so a director must engage with the actors individually to understand their strengths, find ways to inspire them and clarify the text for them. That's the beauty and the best part of being a director in theatre. As far as this play is concerned, we did workshops, then the actors started rehearsing and only then did we proceed further. If the initial workshops hadn't worked, I would have dropped the play. Q: How do you feel about the show coming to India? A: This is a new production premiering for the first time in India with an Indian cast which includes Palomi Ghosh, Vir Hirani, Radhika Sawhney & Harssh Singh. Also read: Pakistani star Sarah Khan thanks Indian fans for success of Zindagi show 'Abdullapur....': Interview

Mughal-e-Azam director Feroz Abbas Khan on bringing new play 'Letters of Suresh' to India this May: Interview

The theatrical adaptation of the 1960 classic Hindi film ‘Mughal-eAzam’ is back on stage once again. Director by one of India’s most prominent theatre directors Feroz Abbas Khan, ‘Mughal-e-Azam’ the musical is in its 18th season.&nbsp;

Over the years, Khan’s show has travelled across cities, giving its unique tribute to K Asif’s epic saga on the screen which starred Dilip Kumar, Madhubala and Prithviraj Kapoor.&nbsp;

The film is a little over six decades old, yet the story remains timeless. For generations, the tragic love story of Anarkali a courtesan and Prince Jehangir has captured the imagination of art and cinema lovers. The audience loved it back when it had released in cinemas and the audience has heaped equal praises over Khan’s show. Khan feels that the play was accepted because they never tried to imitate the original but instead paid a tribute to K Asif’s film. “It was our version of the story,” said Khan in an exclusive chat to WION.&nbsp;

Khan feels the story will remain timeless for decades to come. “It is the story of Anarkali, it is the story of the powerless who stands up against power and I think the idea of standing up against bullying, against the authority is what makes ‘Mughal-e-Azam’ so appealing. She was ready to sacrifice her own life because, for her, her love for Saleem was far more important than her own life,” said Khan.&nbsp;

The film was re-released a few years back with colour correction and that's when Khan decided to adapt for the stage. But he admits he never thought that the play would have 18 seasons. 
 
“We had planned only for the first season,” recalls the director. “We had no idea, we thought we would be lucky if it went more than one season.”

Khan says while he had envisioned the play to be a musical always, there were challenges in plenty. “The biggest challenge was how do we negotiate the memories of the people which are so deeply engraved for those who have seen the film."

The other challenge was to get adequate resources for the production, just like the movie was mounted on a big scale. Khan recalls he needed actors who would not just act but were also great singers and confident to sing live.&nbsp;

“Some of the actresses came in but had to let them go because they loved the idea, but there is a process in theatre and cinema, it's different- you come - you shoot in portions, seconds are stitched together but not in the theatre, its a long process,” Khan reasoned.&nbsp; 
&nbsp; 
<img alt="m" data-entity-type="file" data-entity-uuid="8a7cfc5b-3052-4ea2-8d85-70d076cbb608" src="//cdn.wionews.com/sites/default/files/inline-images/Untitled%20design%20-%202022-11-05T182825.235.jpg" /> 
&nbsp; 
While Khan is well known for his plays like Tumhari Amrita, Mahatma VS Gandhi and Kuch Bhi Ho Sakta Hai, it is widely believed that theatre is not a very well-paying medium. Compared to cinema and television, theatre pays far less and hence not a preferred career option for many artists. But Khan feels he has been most comfortable in theatre.&nbsp;

“I gave up a lot of things to do this. I am most happy doing theatres, most comfortable doing theatre- other things came my way, did two films but my place is theatres. I know that when you take up a profession like a theatre, you won’t be wealthy you won’t be having that kind of a lifestyle but if you make enough money to live a comfortable life it’s fine. But what you get by doing theatre is far more purposeful and meaningful than anything in life,” Khan said and added, “There is some kind of divinity on people who get on to the stage. I am not a religious person but I do see some force that exists in people on stage.”

Khan also feels that theatre will never be obsolete. “It’s been there for 5000 years, it’s still going stronger. It can never be replaced by anything. It has a unique bond with the viewer. We keep hearing that there will be an obituary in theatre but is never been this strong.”&nbsp;

The director says Kolkata, Mumbai and Lucknow have the best audience for theatre. Khan has also dabbled in cinema and made two films in the past- ‘Gandhi My Father’ and ‘Dekh Tamasha Dekh’. Does he plan to direct another film in the near future, we ask. “I want to direct a film now- I am struggling with couple of subjects are there so let’s see,” says the director before signing off.&nbsp;

The theatrical adaptation of the 1960 classic Hindi film ‘Mughal-eAzam’ is back on stage once again. Director by one of India’s most prominent theatre directors Feroz Abbas Khan, ‘Mughal-e-Azam’ the musical is in its 18th season.

The theatrical adaptation of the 1960 classic Hindi film ‘Mughal-eAzam’ is back on stage once again. Director by one of India’s most prominent theatre directors Feroz Abbas Khan, ‘Mughal-e-Azam’ the musical is in its 18th season. Over the years, Khan’s show has travelled across cities, giving its unique tribute to K Asif’s epic saga on the screen which starred Dilip Kumar, Madhubala and Prithviraj Kapoor. The film is a little over six decades old, yet the story remains timeless. For generations, the tragic love story of Anarkali a courtesan and Prince Jehangir has captured the imagination of art and cinema lovers. The audience loved it back when it had released in cinemas and the audience has heaped equal praises over Khan’s show. Khan feels that the play was accepted because they never tried to imitate the original but instead paid a tribute to K Asif’s film. “It was our version of the story,” said Khan in an exclusive chat to WION. Khan feels the story will remain timeless for decades to come. “It is the story of Anarkali, it is the story of the powerless who stands up against power and I think the idea of standing up against bullying, against the authority is what makes ‘Mughal-e-Azam’ so appealing. She was ready to sacrifice her own life because, for her, her love for Saleem was far more important than her own life,” said Khan. The film was re-released a few years back with colour correction and that's when Khan decided to adapt for the stage. But he admits he never thought that the play would have 18 seasons. “We had planned only for the first season,” recalls the director. “We had no idea, we thought we would be lucky if it went more than one season.” Khan says while he had envisioned the play to be a musical always, there were challenges in plenty. “The biggest challenge was how do we negotiate the memories of the people which are so deeply engraved for those who have seen the film." The other challenge was to get adequate resources for the production, just like the movie was mounted on a big scale. Khan recalls he needed actors who would not just act but were also great singers and confident to sing live. “Some of the actresses came in but had to let them go because they loved the idea, but there is a process in theatre and cinema, it's different- you come - you shoot in portions, seconds are stitched together but not in the theatre, its a long process,” Khan reasoned. While Khan is well known for his plays like Tumhari Amrita, Mahatma VS Gandhi and Kuch Bhi Ho Sakta Hai, it is widely believed that theatre is not a very well-paying medium. Compared to cinema and television, theatre pays far less and hence not a preferred career option for many artists. But Khan feels he has been most comfortable in theatre. “I gave up a lot of things to do this. I am most happy doing theatres, most comfortable doing theatre- other things came my way, did two films but my place is theatres. I know that when you take up a profession like a theatre, you won’t be wealthy you won’t be having that kind of a lifestyle but if you make enough money to live a comfortable life it’s fine. But what you get by doing theatre is far more purposeful and meaningful than anything in life,” Khan said and added, “There is some kind of divinity on people who get on to the stage. I am not a religious person but I do see some force that exists in people on stage.” Khan also feels that theatre will never be obsolete. “It’s been there for 5000 years, it’s still going stronger. It can never be replaced by anything. It has a unique bond with the viewer. We keep hearing that there will be an obituary in theatre but is never been this strong.” The director says Kolkata, Mumbai and Lucknow have the best audience for theatre. Khan has also dabbled in cinema and made two films in the past- ‘Gandhi My Father’ and ‘Dekh Tamasha Dekh’. Does he plan to direct another film in the near future, we ask. “I want to direct a film now- I am struggling with couple of subjects are there so let’s see,” says the director before signing off.

Interview: Feroz Abbaas Khan on his musical 'Mughal-e-Azam' and challenges of theatre in India

The Population Foundation of India has been working on Social Behavioural Change Communication (SBCC) on various formats and platforms even more so during this pandemic.&nbsp;Now,&nbsp;the national NGO has produced an animation series titled ‘Corona ki Adalat’, conceived and directed by director Feroz Abbas Khan.

The animation series is part of PFI's collaboration with MyGov and Facebook to craft effective communication during the COVID19 pandemic.&nbsp;

‘Corona ki Adalat’ is an animation series of videos that use entertainment-education to convey impactful messages. Feroz Abbas Khan, who was the brain behind&nbsp;‘Mughal-e-Azam’ the musical and films like ‘Gandhi, My Father’, explores the versatility of animation through short one-two minute videos in this series.

On the videos, he said, "Due to the lockdown, we were pushed to explore the animation medium. 'Corona ki Adalat' uses the familiar setting of a courtroom drama to disseminate key messages, tackle misinformation, and reinforce a sense of solidarity around the fight against Covid-19. We wanted the series to be accessible and relatable. To that end we used humour and situations people often find themselves in.”

The first in the series addresses the issue of stigma and discrimination against health care workers which has been identified by MyGov and the Ministry of Health and Family Welfare as a key issue.

The ‘Corona ki Adalat’ animation series, through videos tailor-made for a Facebook audience in Hindi, will address issues such as stigma and discrimination, precautions, wearing of masks, physical distancing, mental well-being and anxiety in an entertaining and yet impactful manner. In the current scenario, where millions are complying with lockdown at home, these videos delivered through technology and mass media are extremely relevant.&nbsp;

The Population Foundation of India has been working on Social Behavioural Change Communication (SBCC) on various formats and platforms even more so during this pandemic.

The Population Foundation of India has been working on Social Behavioural Change Communication (SBCC) on various formats and platforms even more so during this pandemic. Now, the national NGO has produced an animation series titled ‘Corona ki Adalat’, conceived and directed by director Feroz Abbas Khan. The animation series is part of PFI's collaboration with MyGov and Facebook to craft effective communication during the COVID19 pandemic. ‘Corona ki Adalat’ is an animation series of videos that use entertainment-education to convey impactful messages. Feroz Abbas Khan, who was the brain behind ‘Mughal-e-Azam’ the musical and films like ‘Gandhi, My Father’, explores the versatility of animation through short one-two minute videos in this series. On the videos, he said, "Due to the lockdown, we were pushed to explore the animation medium. 'Corona ki Adalat' uses the familiar setting of a courtroom drama to disseminate key messages, tackle misinformation, and reinforce a sense of solidarity around the fight against Covid-19. We wanted the series to be accessible and relatable. To that end we used humour and situations people often find themselves in.” The first in the series addresses the issue of stigma and discrimination against health care workers which has been identified by MyGov and the Ministry of Health and Family Welfare as a key issue. The ‘Corona ki Adalat’ animation series, through videos tailor-made for a Facebook audience in Hindi, will address issues such as stigma and discrimination, precautions, wearing of masks, physical distancing, mental well-being and anxiety in an entertaining and yet impactful manner. In the current scenario, where millions are complying with lockdown at home, these videos delivered through technology and mass media are extremely relevant.

Feroz Abbas Khan directs an animation series titled ‘Corona ki Adalat’

Theatre director and filmmaker Feroz Abbas Khan is all set to return to the stage with a musical, celebrating love, titled ‘Raunaq &amp; Jassi’. The Hindi musical with live singing is written by Iqbal Raj.

The musical will premiere on November 28&nbsp;at the Mukesh Patel Auditorium in Mumbai before travelling to other cities like New Delhi, Pune, Ahmedabad, Bengaluru and Hyderabad.

“How long does it take to fall in love? What are the sacrifices demanded of lovers? Raunaq &amp; Jassi attempts to answer these eternal questions bathed in passion, music, colours and a celebration of Love as a spectacular gift to humanity,” said Feroz Abbas Khan on the show.&nbsp;

The treatment of the show is said to be grand with costumes being designed by ace fashion designer Manish Malhotra. The choreography is done by Mayuri Upadhya with music rendered by Piyush Kanojia.

Meanwhile, the lighting design is by award-winning David Lander from Broadway and projection design by John Narun.

‘Raunaq &amp; Jassi’ in its plot is inspired by William Shakespeare's classic, ‘Romeo &amp; Juliet’ with set design by Fali Unwalla. The cast is headed by Neha Sargam, Omkar Patil, Sonal Jha and others.

Theatre director and filmmaker Feroz Abbas Khan is all set to return to the stage with a musical, celebrating love, titled ‘Raunaq & Jassi’. The Hindi musical with live singing is written by Iqbal Raj.

Theatre director and filmmaker Feroz Abbas Khan is all set to return to the stage with a musical, celebrating love, titled ‘Raunaq & Jassi’. The Hindi musical with live singing is written by Iqbal Raj. The musical will premiere on November 28 at the Mukesh Patel Auditorium in Mumbai before travelling to other cities like New Delhi, Pune, Ahmedabad, Bengaluru and Hyderabad. “How long does it take to fall in love? What are the sacrifices demanded of lovers? Raunaq & Jassi attempts to answer these eternal questions bathed in passion, music, colours and a celebration of Love as a spectacular gift to humanity,” said Feroz Abbas Khan on the show. The treatment of the show is said to be grand with costumes being designed by ace fashion designer Manish Malhotra. The choreography is done by Mayuri Upadhya with music rendered by Piyush Kanojia. Meanwhile, the lighting design is by award-winning David Lander from Broadway and projection design by John Narun. ‘Raunaq & Jassi’ in its plot is inspired by William Shakespeare's classic, ‘Romeo & Juliet’ with set design by Fali Unwalla. The cast is headed by Neha Sargam, Omkar Patil, Sonal Jha and others.

Musical play Mughal-e-Azam director Feroz Abbas Khan to be back with another titled 'Raunaq & Jassi'

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Mughal-e-Azam director Feroz Abbas Khan on bringing new play 'Letters of Suresh' to India this May: Interview

Interview: Feroz Abbaas Khan on his musical 'Mughal-e-Azam' and challenges of theatre in India

Feroz Abbas Khan directs an animation series titled ‘Corona ki Adalat’

Musical play Mughal-e-Azam director Feroz Abbas Khan to be back with another titled 'Raunaq & Jassi'