Lingering in shadows of glitz and glamour

Struggles of Surabhi theatre artistes balancing tradition, family, and financial challenges in the modern entertainment landscape.

Vibrant costumes, glittery jewellery, a flamboyant stage and the grandeur one gets to experience at a Surabhi theatre are only for the show. Once off the stage, the struggle of the artistes of one of India’s largest surviving groups of traditional theatre is all about making ends meet.

The fifth-generation artistes of the family theatre group say that theatre demands big sacrifices and in the end, they are left with only their profession that they can call their own. Even during tours at scenic places like Vizag, the teams have no time to go sightseeing with their family members.

Once we get into the ‘character’ on stage, however, we forget our difficulties. The thoughts of a gloomy future return after we remove the grease paint,” says Nagababu.

Their day begins and ends with practice and rehearsals, they say. The only difference is that they don’t don the grease paint during the rehearsals, unlike the stage performances.

“After our morning cup of coffee, we utilise our free time to hone our skills to make sure we put up the best show for the audience,” says Nagababu, president, Bhanodaya Natya Mandali (Surabhi).

His words reminds one of the famous Hindi song ‘Jeena yaha marna yaha iske siva jaana kaha’ from Raj Kapoor’s film Mera Naam Joker.

Surabhi theatre has its origins in the Kadapa district in Andhra Pradesh and the artistes have their origins in Maharashtra. It is said that their ancestors had migrated to Surabhi village in Kadapa district around 140 years ago and that their forefathers were soldiers in the army of Chhatrapati Shivaji.