Yadav Yadavan: I learnt music with a specific understanding of its context in dance
By ASJAD NAZIRApr 09, 2022
HAVING trained extensively under leading names and educational institutions, award-winning composer and vocalist Yadav Yadavan has been connected to music from a very young age.
Although he has performed live globally, some of his most enduring work has been in the UK. Since 2002, Yadavan has collaborated with his wife Nina Rajarani MBE and her professional Harrow-based dance company, Srishti.
That partnership has led to him composing great original music scores for a whole host of dance shows, including their latest production Sevens, which is currently on a UK tour.
His methodical approach, which includes connecting to the cast, choreography, subject and spontaneity of the piece has resulted in another winning dance score. In between all that, he also teaches Karnatik vocal music to a new generation. Eastern Eye caught up with the multi-talented maestro to discuss music, Sevens, and magical partnership with his dancer-choreographer wife.
What first connected you to music?
My birth into an artistic family, primarily. Learning music was part of an everyday routine in my family and extended family, so everyone was involved, by default. It wasn’t just music, many in my family are dancers too, so I learnt music with a specific understanding of its context in dance.
You have performed globally, but what has been most memorable?
It was creating the musical score and performing for The Place Prize competition in 2006 with the piece Quick, choreographed by my wife Nina Rajarani. The Place Prize was Europe’s largest dance choreography competition, sponsored by Bloomberg. Nina’s piece won that year, and it was a career highlight to have been the composer for that work. British composer Brian Eno was on the judging panel and his congratulating me personally was memorable.
What has the experience been like working with your wife Nina Rajarani MBE and composing for her live shows?
Nina is a perfectionist beyond perfect and hates short cuts. I have to do many rounds of composing before Nina approves anything. The thing with composing for your wife is that you carry home the work and the work-in-progress phase never ends! There is ongoing constant tweaking.
Tell us about the music you have created for her latest show Sevens?
Sevens has been a very different experience as I’ve collaborated with Shammi Pithia on the music. It was a new learning experience, as we have completely different backgrounds. The music for Sevens has hugely varying textures. Some sections are wholly classical, and others have a world music feel. There is something in it for all tastes in music.
How does Sevens compare to other shows you have worked on?
This is a collaboration between Kathak and Bharatanatyam, so the music had to account for that, which was a learning curve for me. As it was our first project after Covid, it had a special significance in terms of the recovery and survival of the arts sector. Everyone came together feeling excited about being able to work in a common physical space again.
Do you have any favourite musical moment in the show?
Yes, when I improvise without constraints in my duet with Nina, where we both complement each other; the dance and music feed off each other. It is different for every show as it is improvised. I love unpredictability.
What else can we expect from you?
Singing, singing and more singing!
Why should we come to watch Sevens?
It has so much variety packed into it, with huge skill displayed by all the performers. There isn’t a second of boredom in the whole show. It is very relatable, even for those not initiated into the arts, and deals with themes that are universal, not specific to any race or religion. So, it is for everyone.
Why do you love music?
I love it because it is a natural form of expression for any living being. It is the only thing that can trigger the super consciousness beyond the superficial layer of the brain (and serves as a mind healer). A couple of quotes that sum up what music means to people, even those who aren’t musicians: “Without music, life would be a mistake” (Friedrich Nietzsche), and “If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music. I get the most joy in life out of music.” (Albert Einstein).
Srishti – Nina Rajarani Creations’ Sevens tours the UK until July 5.
ACTOR Raj Ghatak praised the enduring appeal of The Producers as he takes on a role in the hit Broadway show, now playing in the West End.
Ghatak is the first person of colour to portray Carmen Ghia, the flamboyant partner of eccentric director Roger DeBris (Trevor Ashley) and, consequently, his character is dressed in the south Asian attire of sherwani (tunic) and kurta pyjama.
In an interview with Eastern Eye, he said, “The world was arguably a happier place when it was first written.
“But what we’re finding now is that audiences are so grateful to laugh. They sit down, immerse themselves in the story, and forget everything else. That’s the power of theatre.”
Describing the show as a kind of “therapy” for modern times, Ghatak said, “Audiences tell us how welcome it is to laugh so hard again”.
It is the first major London revival of American filmmaker and actor Mel Brooks’ classic, which earned an unprecedented 12 Tony Awards, and has transferred from a sold-out run at the Menier Chocolate Factory to the Garrick Theatre.
Based on Brooks’ 1967 cult film, the story follows two desperate Broadway producers who scheme to get rich by producing a flop, only for their plan to go hilariously wrong.
Trevor Ashley as Roger DeBris and Ghatak as Carmen Ghia in The Producers
Teeming with Brooks’ signature wit, the show delights in its irreverence, sending up everything from show business to politics. Ghatak said, “It’s massively exciting to be part of it. And this time around, they’ve leaned in to my ethnicity. I wear a kurta pajama and a sherwani – things that have obviously never been done before. It gives us visibility.”
Two decades ago, Ghatak starred in Bombay Dreams, AR Rahman’s West End musical produced by Andrew Lloyd Webber, that became a cultural turning point for British Asian performers.
Ghatak recalled how the show “broke the glass ceiling for south Asian actors”.
He said, “At the time, it was just a job – a very high-profile one. But, years later, people tell me they were taken to see that show as children, and because of it, they felt they had permission to be an actor. That’s something that was never the case in my day.”
That generational shift is something Ghatak takes pride in. “When I look back, it feels like we’ve come a long way. But we still have a long way to go.”
Being part of The Producers brought Ghatak face to face with one of his heroes. Brooks himself, now 99, had to approve his casting.
The actor said, “They filmed my meeting. I met the team on a Friday afternoon, and on Monday morning they said, ‘Pending Mel Brooks’ approval, we’d like to offer you the role.’ I remember thinking, if I don’t get his approval, does this mean I can’t do the job?”
The cast had four weeks of full-time rehearsals. “For that production, I watched both films,” Ghatak said, referring to the 1967 original and the 2005 version with Nathan Lane and Matthew Broderick.
“I wanted to understand the source material. I’m a firm believer that if it’s not broke, don’t fix it. Otherwise, you’re changing something for the sake of it. But rehearsals are where you experiment and play.” He credited both Brooks’ writing and Patrick Marber’s direction for the show’s humour.
“Our director comes from a background of plays. My own background is in plays, TV and film. So, we both approached this with the idea that, however heightened the situation or character, it must be grounded in truth,” he said.
Ghatak trained at the Royal Central School of Speech and Drama and Queen Mary University in London and has worked with Emma Thompson, Nicole Kidman, Riz Ahmed, Sir Derek Jacobi, Ewan M c G r e - g o r, Hugh Jackman and Benedict Cumberbatch. His stage credits include The Kite Runner, Life of Pi, Everybody’s Talking About Jamie and The Father and the Assassin. He has worked with some of the most respected directors in theatre, including Dominic Cooke, Indhu Rubasingham, Rufus Norris, Kerry Michael and now Marber.
Despite his achievements, the actor is conscious of the ongoing struggles for representation. He said, “As much as the situation has improved, we’ve still got a long way to go. Roles that challenge me, excite me. There are so many stories from the Asian subcontinent and diaspora that deserve to be told.
“When I started, there were very few people I could look to as role models. That’s why I’ve become such a champion for diversity and inclusion.”
Born and raised in north London to Bengali parents from Kolkata, he grew up surrounded by music and culture.
“My father was a doctor, and my mother was a chemistry teacher,” Ghatak said, adding, “But there was always music at home. My father sings Rabindra Sangeet, my mother plays guitar, and my sister is a classical singer.” Initially, he didn’t see acting as a viable career. “I went to a very academic school.
My interests were split between medical sciences and the performing arts.”
Eventually, he followed his childhood passion and trained as an actor.
He said, “A show like The Producers challenges me in a different way - it makes me laugh and it makes me think. That’s what keeps me passionate about the work.”
Asked what continues to excite him about musical theatre, Ghatak said, “Being in this show and telling this story. The comedy, the chaos, the craft… it’s such a joy. And to be the only person of colour among the six principal cast members, representing our community on such a stage, that’s something I’m proud of.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.