An evening of music and dance and some nostalgia in BLR Hubba

The BLR Hubba 2024 spread much cheer with its line-up and featured eclectic performances. Arjun Sajnani’s production of A Day in Hollywood, A Night in the Ukraine, staged at Chowdiah Hall, Bengaluru, in December, was part of the offerings. Sajnani first produced this show 32 years ago.

Comprising two unconnected acts, the first half was a musical tribute to Hollywood of the 1930s, when it dominated the dreams and aspirations of young hopefuls. In the play, the usherettes of the famous Graumann’s Chinese Theatre take to the stage, imitating their screen idols, singing and acting out their aspirations.

The pastiche of songs from the 1930s was enjoyable, and music director Maya Mascarenhas’ group of singers did justice to the songs. However, only those over 95 would have been familiar with them. So, it possibly was not as meaningful to the current generation in the audience. Familiarity adds greatly to one’s musical enjoyment, as people often hum along to a well-known song. The fact that ‘Somewhere Over the Rainbow’ was the most popular part of this half, attests to this. For, even the younger generation knows the song that has, like the rainbow, arced over decades, to brighten musical skies.

Without betraying the period, the older unfamiliar songs could have been substituted with “classics” such as ‘Summertime’, ‘Blue Moon’ and Cole Porter’s favourites, have endured, thereby adding to the audience enjoyment.

The songs fell seamlessly into place, helped by the vivid visuals evocative of the period. Technology was definitely the mainstay of this first half. One wonders how this show appeared 32 years ago, with only conventional static stage sets and without the benefit of technologically projected scenery. Clay Kelton’s well-sourced visuals recreated that era, with clips from movies, and illustrations for the song lyrics.

Visuals of a sinuous dragon set the scene for the famous Graumann’s Chinese Theatre, and the piano keyboards unfurling across the stage, were particularly appropriate for the snappy, catchy piano pieces.

It was a delight to witness so much young vocal talent in Bengaluru, particularly Priya Mendens, who displayed fine control and modulation in her solo, ‘The Best in the World’.

Unfortunately, good as the music was, the segment lacked the necessary slickness that is the essence of Hollywood musicals. Instead of snazzy well-executed dancing, the choreography here was rather basic, executed rather self-consciously. But, that is understandable, for this cast was obviously chosen for their singing voices. And, it is rare to find local amateurs who excel at both singing and dancing.

The dull and baggy usherettes’ costumes were another sore point. They did not convey the elegance of the time when Graumann’s Theatre was the ultimate magnet of chic and sophisticated moviegoers.

Tribute to Marx Brothers

The second act, A Night in the Ukraine, loosely based on a Chekov story, was a wonderful tribute to the Marx Brothers. Despite the 32-year gap, the original cast of thespians in the Ukraine segment are still active and they resumed their roles admirably.

It was hilarious nonsense, cobbled with Marx Brothers’ famous one-liners, slapstick and vaudeville. Tuffy Taraporewala was superb as Samovar. Without attempting a physical resemblance to Groucho, he nevertheless embodied the spirit of that great comedian. He can also sing! His “tango” duet with Priya Mendens as Mrs. Pavalenko was sheer enchantment. The romantic interest was provided by a younger couple played by Vidya Samuel and Satvik Chenjeri, whose musical interchange was also of a high vocal standard.

Viveck Shah subsumed his assertive voice and authoritative presence in the role of Gino, based on the “dumb” silent Harpo Marx. He enjoyed doing justice to a difficult role that excluded any vocalisation and relied instead on animation. His antics were greeted with delighted shrieks from the children in the audience.

Ashok Mandanna was hailed with cheers, being a well-known presence. Unfortunately, his lack of clarity was further impeded by the accent he assumed as Carlo.

Sajnani is a veteran producer who has been active in Bengaluru’s English theatre scene, coming up with productions almost every year. It is heartening to see the city’s younger generation being given a chance to showcase their talents. Maybe, Bengaluru can look forward to an annual musical theatrical offering in the future.