The National Centre for Performing Arts has always been a pioneer of sorts when it comes to pioneering change. Considered to be the finest pitstop for performers across the world, its latest addition to its illustrious past is the play Every Good Boy Deserves Favour. A political satire by playwright Sir Tom Stoppard and conductor/composer André Previn, this rarely staged play an all-star cast and a 45-piece orchestra playing live on stage by the Symphony Orchestra of India. Director Bruce Guthrie, in an interview to News18, opens up about the play which will be staged on November 4.
When did you decide to revive this classic?
When I first took up the role of Head of Theatre and Films at the National Centre for the Performing Arts, our chairman, Mr. Khushroo.N.Suntook, and I discussed the possibility of creating productions in collaboration with the Symphony Orchestra of India. The prospect of this is really exciting. Only a select few arts organisations in the world have a Symphony Orchestra in-house. Every Good Boy Deserves Favour is a play I have wanted to direct for a long time. We wanted to do it in 2020 and it has been delayed. In some ways, the delay has allowed the play to fall more sharply into focus with the political landscape of the world. There is such destabilisation in world politics. The current situation in Russia with Ukraine makes the play feel timely. Not only that, but freedom of speech is a concept that is explored. It makes the viewer consider its place in modern society, particularly with the addition of the internet and social media.
Were there changes you had to incorporate for the Indian audiences?
We have an Indian cast, including Neil Bhoopalam, Denzil Smith, Deepika Deshpande Amin and Sohrab Ardeshir, the Symphony Orchestra of India, members of the junior orchestra and other surprises in store. But in terms of the play itself, it belongs to Previn & Stoppard. It is set in Russia in 1977. This production taps into the Brechtian trope of being applicable to the modern age while being set in a time and place that may not be here and now. These are universal themes and a world where the ideas of the play are just as important as the story.
Can you talk a bit about the seamless blend of the orchestra in the play?
The orchestra is a part of the action and acts as more of a character in the play. They represent different things at different times. Sometimes they are in Ivanov’s head: sometimes, they are society itself; other times, they are the machinations of society. The piece acts as a piece of modern art: what the audience believes them to be, they are.
Is this also a tribute to Sir Tom Stoppard, as he spent considerable time in India?
I’ve been lucky enough to have spoken with Sir Tom on several occasions on the phone. He is a writer I have the utmost respect for, so it has been wonderful to connect with the great man himself. He is incredibly proud that this play is being produced at the NCPA. India is a place incredibly close to his heart. He hopes to attend the production, and all being well, he will join us in November. He is one of the greatest living English playwrights. Forty-five years after the play was first performed, we are excited to share this new production with Indian audiences, who seem to have as much affection for Stoppard as he has for India.
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