MIKHAIL SEN EXPLAINS THE CHALLENGES OF HIS NEW PLAY AND WHY BEING PRESENT IS IMPORTANT
HUGELY popular theatre production The Play That Goes Wrong is the longest running comedy in central London’s West End and is beautifully blundering its way through an eighth year of entertaining enthralled audiences.
The laughter-filled show revolves around a company’s disastrous attempt to put on a play, where everything that can possibly go wrong does. It has been performed to audiences of more than two million and licensed to 30 countries worldwide since it first premiered. It has also won multiple awards and is the longest-running play in the history of the Duchess Theatre, which opened in 1929.
Multiple talented actors have taken on the coveted lead roles across the years and the latest cast includes Mikhail Sen. The acclaimed actor, who played a key character in the BBC TV production A Suitable Boy, adds to his impressive body of work with the prominent role of Chris Bean, the director of the Cornley Polytechnic Amateur Dramatic Society. Sen is clearly enjoying being part of such a big West End production and was happy to speak to Eastern Eye about his interesting acting journey and the joys of joining The Play That Goes Wrong.
What first connected you to acting?
Home – my parents were actively involved in amateur theatre, and would rehearse after work. Since I was an only child, they used to take me along to rehearsals. I grew up with theatre, so being surrounded by a bunch of wonderfully talented (and slightly eccentric) thespians definitely had something to do with me becoming an actor.
Which of your projects have been closest to your heart?
In terms of my screen work, A Suitable Boy will always be closest to my heart. The book was given to me by my grandparents on my 15th birthday and their inscription was, ‘To our suitable boy.’ The fact that I play one of the suitors in the screen adaptation is very serendipitous. In terms of theatre, The Play That Goes Wrong has a very special place. To play a lead role in the West End is a dream come true for me.
Which role or project do you think challenged you most?
I think every role that I’ve played to date has challenged me in some way. Playing Chris Bean in The Play That Goes Wrong has definitely been a journey. It’s an extremely physical part with a fair amount of slapstick and physical gags, coupled with heightened emotion, because the stakes are just so high for Chris. Everything that goes wrong pushes him further and further to the verge of breaking point. While it may be a comedy in the wide shot, zoom in close and you’ll find it’s the greatest tragedy for Chris.
How did you feel landing a role in such an iconic production like The Play That Goes Wrong?
I was very excited, albeit quite nervous. It’s such a successful, brilliantly funny show that’s had audiences laughing for years. When my agent called to say I had got the job, I was both stunned and thrilled at the same time.
For those who have not seen it yet, tell us about the play and your character in it?
The Play That Goes Wrong is about the Cornley Polytechnic Drama Society (think amateur dramatics) who are putting on The Murder at Haversham Manor. It’s a play within a play and everything that can go wrong does go wrong. I play Chris Bean, the director, who’s playing Inspector Carter in The Murder at Haversham Manor.
Mikhail Sen
How much pressure did you feel as an actor who is stepping into such a successful production?
I did feel the pressure a bit because of how successful the show is, but at the same time, we’re doing it afresh with an entirely new cast. Each of us has brought something new and exciting to our roles which takes some of the pressure off because we have found these characters in ourselves.
Why do you think the play is so popular?
I think that is because it allows the audience to escape the real world and laugh non-stop. Laughter is the best medicine. Also, it’s not just a raucously hilarious comedy but it’s a raucously hilarious comedy – with heart.
What is your own favourite moment in the play?
There are so many, but I would say Max’s moment with the phone is probably my favourite.
How does comedy compare to other genres as a performer?
Well, doing a comedy comes with its own set of demands. I’ve learnt so much about timing and how to interact with the audience as well as having to be extremely present and honest. Having a different audience every night is like having a new character you have to play off. That’s what’s really exciting.
The Play That Goes Wrong
What inspires you as an actor?
Wow, good question. Lots of things inspire me. Acting comes from my observations on life and what’s around me. At the moment, it’s the cast and the entire team of The Play That Goes Wrong because they’re brilliant and because the show is now a huge part of my life.
Why do you love theatre?
Because it’s live and immediate and if done well, it has the power to make you suspend disbelief and transport you to different worlds.
According to you, what is the secret of a great performance?
I think the answer to this is, I’m still discovering that. But I believe it lies in doing all the rehearsals and preparation and then forgetting about it, and allowing things to happen from the minute you’re on to the minute you’re off. Easier said than done – I guess that’s what they call being present?
Finally, why should we come watch The Play That Goes Wrong?
It’s a show that’ll have you laughing nonstop for two hours straight. I think it’s exactly what the world needs at the moment.
The Play That Goes Wrong is being staged at Duchess Theatre, 3-5 Catherine Street, London WC2B 5LA. Visit www.theplaythatgoeswrong.com for details.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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