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MAHH DATTANI’S ON A MUGGY NIGHT MUMBAI: AN ARTICULATN OF GAY INTY CRISIS POSTED ON OCTOBER 1, 2021OCTOBER 1, 2021 BY VISHWANATH BEJASPAL SGHMAHH DATTANI, THE SAHYA AMY AWARD WNER PLAYWRIGHT GIV THE HOMOSEXUALS OF INDIA A VOICE TO ARTICULATE, PROBABLY FOR THE VERY FIRST TIME THE INDIAN THEATRE HIS PLAYS LIKE ON A MUGGY NIGHT MUMBAI, DO THE NEEDFUL AND BRAVELY FOUGHT THE QUEEN. HE SPOTLIGHTS THE CRISIS THAT GAYS FACE AS THEY ARE TORN BETWEEN THEIR TE SELF AND WHAT THE TRADNAL INDIAN SOCIETY THKS AND EXPECTS OF THE GAYS. THEIR HIDN FEARS AND FEELGS ARE REFULLY PORTRAYED THE PLAYS. DATTANI, WH THE AMEWORK OF DRAMATIC STCTURE TRI TO VTIGATE THE INTY CRISISI OF THE GAYS WHO OCCUPY NO HONOURABLE SPACE SOCIAL ORR. THERE ISSUE IS VISIBLE THE SOCIETYII ABOUT WHICH NONE PUBLILLY TALKS OR WR. ON A MUGGY NIGHT MUMBAI IS A PLAY THAT PICTS THE SOCIAL SPACE OF VLENCE AND HUIATN FACED BY THEM. FIRST PERFORMED AT THE TATA THEATRE, MUMBAI ON 23RD NOV., 1998 AND THEN ADAPTED TO A FILM MANGO SOUFFLé, ON A MUGGY NIGHT MUMBAI IS PROBABLY THE BT AND THE MOST PLEX PLAY THAT DISCS THE SOC-PSYCHOLOGIL INTY CRISIS OF THE GAYS WHO ARE TORN BETWEEN THE SOCIAL TABOOS AND THEIR PERSONAL SIR, THEIR NSCIENCE AND SOCIAL NSCNS. IT DRAMATIZ THE NFLICTS, ANGUISH,DILEMMAS, SECURI, FEARS AND TRATN OF THE GAYS THE SOCIETY. JOHN MC. RAE WR ANOTE ON THE PLAY:“IT IS NOT SIMPLY THE FIRST PLAY INDIAN THEATRE TO HANDLE OPENLY GAY THEM OF LOVE, PARTNERSHIP, TST AND BETRAYAL. IT IS A PLAY ABOUT HOW SOCIETY CREAT PATTERNS OF BEHAVUR AND HOW EASY IS FOR DIVIDUALS TO FALL VICTIM TO THE EXPECTATNS SOCIETY CREAT.”IIIDATTANI HAS MA E OF MULTI-LEVEL STAGE TO REPRENT THE DIFFERENT SPAC OF HOEHOLD REPRENTG THE MENTAL SPAC OF THE CHARACTERS AND THE DIFFERENT REALI THEY LIVE . THE DARK EXPENSIVE AREA REPRENTS THE MENTAL ANGUISH AND DILEMMA OF THE CHARACTERS WHILE THE OPEN SPACE REPRENTS THE ACTN THE NTEXT OF EXTERNAL THOUGHTS. ALL THE ACTN TAK PLACE KAMLH’S FLAT THAT IS DIVID TO THREE SPAC – THE LIVG ROOM, THE BED ROOM AND THE NON REALISTIC EXPENSIVE STATE. THE FLAT IS SUATED AT THE MARE DRIVE WHICH GIV THE IA OF THE LUXUR LIFE OF MUMBAI. THERE IS A NTRAST BETWEEN THE GLOR VIEW OF THE ‘QUEEN’S NECKLACE’ AND THE ISOLATED FLAT OF KAMLH WHICH SHOWS THE NTRAST BETWEEN THE PUBLIC AND PRIVATE LIFE OF THE GAYS. THE SEND IS THE BEDROOM OF KAMLH WHICH IS HIDN BEHD THE WALL WHICH GIV AN IMAGE OF MYSTERY AND PRIVACY. THE THIRD AREA IS THE SPACE WHERE THE CHARACTERS IMMEDIATELY SPEND TO THE “SHOONYA” AND THEIR NERMOST THOUGHTS AND FEELGS E OUT.DATTANI CLEVERLY JUXTAPOS TWO NTRASTG SCENARS WHERE THERE IS THE GATHERG OF GAYS A FLAT ON ONE HAND, WHERE ALL THE ACTN TAK PLACE AND OF A WEDDG GOG ON OFFSTAGE AND SOUNDS OF CELEBRATN ARE QUE LOUD AND CLEAR. THE WEDDG IS THE SANCTIFITN AND ENDORSEMENT OF A HETEROSEXUAL RELATNSHIP AND “THE WHOLE WORLD ACKNOWLEDG TWO PEOPLE WHO ENTER A UNN PACT, SO THEY HAVE TO STICK BY THAT.”(COLLECTED PLAYS P.72.) THE SOCIETY APPROV OF A HETEROSEXUAL RELATNSHIP BUT THE HOMOSEXUAL RELATNS ARE LOOKED DOWN UPON BY THE MAJORY. THE GAYS PRENT THE PARTY FEEL THE PRSURE OF THE SOCIAL CTOMS AND TRADNS. THEY TRY TO GA SPACE AND E TO TERMS WH THEIR OWN INTY NTRAST TO THE SOCIAL NORMS. KIR, THE HEROE OF THE PLAY SAYS, “I REALLY WISH THEY WOULD ALLOW GAY PEOPLE TO MARRY.” AND SHE GETS A REPLY OM RANJ WHO SAYS, “THEY DO. ONLY NOT TO THE SAME SEX.” (CP P.98.)WE SEE A HOST OF GAYS AT THE PARTY THE FLAT AND THEY REPRENT VARIED FAC OF THE HOMOSEXUAL MUNY. THEY ALL ARE PLEX CHARACTERS WHO NNOT BE UNRSTOOD BY THEIROUTWARD GENR PREFERENC ONLY. THEY HAVE THEIR OWN FEARS AND FANTASI, R AND NCERNS, NSCIENCE AND NSCNS, EMOTNS AND PASSNS AS PART OF THEIR PERSONALY TRAS LIKE ANYBODY ELSE. THEY HAVE DIFFERENT EXPRSNS REGARDG THEIR INTY. THEY HAVE GATHERED TOGETHER AT THE VATN OF KAMLH WHO IS A ‘RECLE’ THE HEART OF BOMBAY AND IS UNABLE TO FET HIS LOVER ED/PARKASH. KAMLH IS NOT A CLOSET HOMOSEXUAL WHO WANTS TO HI HIS TE SELF. HE HIMSELF SAYS, “HOW LONG SHALL WE NTUE TO HI? WE N’T HI FOREVER!” (CP P.91) BUT HIS GAY PARTNER ED HAS BETRAYED HIM AND HE FEELS DOWN AND OUT BEE OF THAT. HE EVEN TRI TO TAKE THE HELP OF A PSYCHIATRIST OUT OF THE ‘YELLOW PAG’ WHO PRETENDS TO UNRSTAND HIS SE AND TELLS HIM ABOUT THE ‘AVERSN THERAPY’ TO HELP HIM FIGHT THE PRSN BUT “HE SAID I WOULD NEVER BE HAPPY AS A GAY MAN. IT IS IMPOSSIBLE TO CHANGE THE SOCIETY, HE SAID, BUT MAY BE POSSIBLE FOR YOU TO REORIENT YOURSELF.” (CP P. 69.) BUT HE WAS ALL THE MORE OBSSED WH THE MEMORY OF ED WHICH KEEPS ‘CROPPG UP’ HIS MD ‘LIKE HERP’. HE END UP “PICKG UP STRANGERS-BRGG THEM OVER-HOPG TO NNECT” (CP P.70.) AND WAS “SCREWG ANYTHG THAT HAS A BULGE THE PANTS.” (CP P.63.) HE EVEN DULGED SEXUAL RELATNS WH THE GUARD AND THE SECRETARY OF THE SOCIETY. IT IS THE FAILURE ON THE PART OF KAMLH TO ‘REORIENT’ BUT SUCCS OR AT LEAST A PRETENTN OF SUCCS ON THE PART OF ED WHEN HE PRETENDS TO BE ‘STRAIGHT’ BEE THE CHURCH AND THE PSYCHIATRIST HAVE HELPED HIM BELIEVE THAT HIS LOVE FOR KAMLH WAS “THE WORK OF THE VIL. NOW THE VIL HAS LEFT HIM.”(CP P.85.) IT IS NOT THE DIVIDUALS ALONE WHO DISAPPROVE HOMOSEXUALY BUT THE HIGH STUTNS OF SOCIETY LIKE CHURCH WHO DO NOT APPROVE AND SANCTIFY SUCH RELATNS BEE RELATNS BETWEEN SAME SEX, SCE THEY NNOT BE PROCREATIVE ARE SEEN AS UNNATURAL AND RNAL.ED HAS LEFT HIM BEE HE WANTS TO HI HIS GAY INTY AND THEREFORE HE TENDS TO MARRY KIRAN WHO IS KAMLH’S SISTER. HE WANTS TO REMA TOUCH WH KAMLH THROUGH KIRAN SO THAT NOBODY SPECTS HIS INTY. HE SAYS, “NOBODY WOULD KNOW. NOBODY WOULD RE…I’LL TAKE RE OF KIRAN. AND YOU TAKE RE OF ME.”(CP P.105.) HE SE NO FUTURE OPEN GAY RELATNSHIP. HE DO NOT WANT HIMSELF TO BE BRAND PUBLILLY AS A GAY. HE FENDS HIMSELF OF HIS TENTNS OF PRETENDG ‘STRAIGHT’ THE ARGUMENTS THE PARTY WHEN HE SAYS,“LOOK AROUND YOU. LOOK OUTSI…THERE ARE REAL MEN AND WOMEN OUT THERE. YOU HAVE TO SEE THEM TO KNOW WHAT I MEAN. BUT YOU DON’T WANT TO. YOU DON’T WANT TO LOOK AT THE WORLD OUTSI THIS- THIS N OF YOURS. ALL OF YOU WANT TO LIVE YOUR OWN LTLE BUBBLE.”(CP P. 99.)DEEPALI IS A ‘SENSIBLE’ LBIAN AMONG THE GROUP. SHE FEELS SYMPATHETIC AND NCERNED OF KAMLH AND HAS AN AFFY TOWARDS HIM WHICH IS REFLECTED HER NVERSATN WH KAMLH, “IF YOU WERE A WOMAN, WE WOULD BE LOVE…IF YOU WERE HETEROSEXUAL, WE WOULD BE MARRIED.”(CP P.65.) SHE IS VOL OF HER SEXUAL CLATNS HER ARGUMENTS AT THE PARTY AND SAYS, “IT’S NOT SHAME, IS ? WH ?… OF THE RNERS WE WILL BE PHED TO WHERE WE DON’T WANT TO BE” (CP P. 89.) AND OF THE GAY E, “I AM ALL FOR THE GAY MEN’S E. MEN SERVE ONLY MEN!”(CP P.60.)THE GUARD WHO DO ODD JOBS FOR THE PEOPLE AT THE PARTY IS ALSO A HOMOSEXUAL WHO IS SEEN PUTTG UP HIS CLOTH ONT OF KAMLH JT AT THE BEGNG OF THE PLAY. RANJ WHO WANTS TO HI HIS GAY INTY INDIA HAS HIS GAY PARTNER ENGLAND.THE WHOLE PLAY REVOLV AROUND THE INTY CRISIS EDW PRAKASH MATTHEW ALIAS ED BUT IS JT NOT ED WHO IS FACG THIS CRISIS. ALL THE GAYS THE PLAY ARE FACG THIS CRISIS. WE HAVE ANOTHER EXAMPLE OF THE LIKE OF ED AS BUNNY SGH WHO ADMS THAT WHAT HE IS DOG, HE IS JT TRYG TO “CAMOUFLAGE! EVEN ANIMALS DO . BLEND WH THE SURROUNDGS. THEY N’T FD YOU. YOU POLILLY RRECT GAYS NY YOURSELF THE BASIC ANIMAL STCT OF MOUFLAGE.” (CPP.70.) HE IS A SARDAR WHO HAS CUT HIS HAIR TO HI HIS OUTER RELIG INTY AND HAS MARRIED TO HI HIS NER GAY INTY. BUT HE IS A SUCCS THE TV PROGRAM ‘YEH HAI HAMARA PARIVAAR’. THE TLE OF THE PROGRAM AND S SUCCS SUGGTS THAT INDIA HAS A TRADNAL SOCIETY AND SOCIAL SETUP. HE IS A WONRFUL IAL MIDDLE CLASS INDIAN TOWARDS WHOM EVERYONE LOOKS UP TO: THE ‘IAL HBAND AND FATHER’.ED IS ALSO TRYG TO ‘MOUFLAGE’ THE SAME MANNER AS BUNNY SGH IS DOG. HE IS UNR IMMENSE PSYCHOLOGIL PRSURE AND IS ON THE VERGE OF A NERVO BREAKDOWN. ON ONE HAND HE IS NFLICT WH KAMLH WHOM HE LEAV BEE HE WAS ASHAMED OF HIS RELATNSHIP WH HIM AND HE DID NOT WANT TO BE BRAND AS A GAY THE SOCIETY AND ON THE OTHER HAND HE IS NFLICT WH KIRAN OM WHOM HE HIS HIS TE INTY BUT TRI TO E HER TO REMA TOUCH WH KAMLH. SHARAD IS THE ANTHIS OF ED WHO IS VOL OF HIS GAY INTY. “LET THE WORLD KNOW THAT YOU EXIST. HONEY IF YOU FLNT , YOU’VE GOT .”(CP P.70.) HE HIMSELF ADMS THAT “I AM NOT BISEXUAL. I AM GAY AS A GOOSE.”(CP P.100.) AND TEAS ED WH HIS SPEECH ON ‘MACHO MAN SYNDROME’ THAT ED TRI TO FEIGN:“YOU SEE, BEG A HETEROSEXUAL MAN—A REAL MAN AS ED PUT —I GET EVERYTHG. I GET TO BE ACCEPTED-ACCEPTED BY WHOM?……. THAT MARRIAGE LOT DOWN THERE FOR STANCE. I N HAVE A WIFE, I N HAVE CHILDREN WHO WILL ALL ADORE ME SIMPLY BEE I AM A HETERO…….I BEG YOUR PARDON—A REAL MAN. NOW WHY WOULD I WANT TO GIVE ALL UP? SO WHAT IF I HAVE TO CHANGE A LTLE? IF I N BE A REAL MAN I N BE KG. LOOK AT ALL THE KGS AROUND YOU, LOOK AT ALL THE MALE POWER THEY ENJOY, THSTG THEMSELV ON TO THE WORLD, ALL THAT PENIS POWER! POWER WH SEX, POWER WH MCLE, POWER WH SIZE. FIRG ROCKETS, EXPLODG NUCLEAR BOMBS, IF YOU N DO FIVE TIM I N DO SIX TIM AND ALL THAT STUFF. (THSTG HIS PELVIS AN OBSCENE MACHO FASHN.) POWER, MAN! POWER!” (CP VOL. I P. 101.)ED TRI TO BE THE ‘KG’ THE SOCIETY BY PRETENDG BEG ‘STRAIGHT’ BUT NNOT HI HIS TE SELF AS HE HAS A PAST AND THAT PAST HNTS HIM.SHARAD PPOTS THE CRISIS ED’S MD THROUGH THE GAY ANTHEM THAT HE SGS THE BEGNG AND THE END OF THE PLAY WHICH IS THE ENGLISH VERSN OF CHARL AZNAVOUR’S ‘COMME ILS DISENT’ ‘WHAT MAK A MAN A MAN’:SO MANY TIM WE HAVE TO PAYFOR HAVG FUN AND BEG GAY….(CP PP. 55-56.)I ASK MYSELF WHAT I HAVE GOTAND WHAT I AM AND WHAT I’M NOT…(CP P.111.)‘TO BE OR NOT TO BE’ INTIFIED AS A GAY ‘IS THE QUTN’ THAT ED AND OTHER GAYS THE PLAY FACE. OVERWHELMED BY THE CIRCUMSTANC AND SOCIAL PRSUR, ED TWICE TRI TO M SUICI THE PLAY. HIS ATTEMPT TO SUICI SHOWS THAT HE IS THE WEAKT OF ALL THE HOMOSEXUALS THE PLAY BEE HE IS SUFFERG THE MOST OM THIS INTY CRISIS. THE OTHER CHARACTERS THE PLAY HAVE THIS CRISIS ALSO BUT THEY HAVE SOME FAH AND BELIEF THEIR INTY ALSO AND THEY ARE ARTICULATE ABOUT AT LEAST THEIR ‘BUBBLE’. BUT ED DON’T WANT HIS TE INTY TO BE REVEALED EVEN TO HIS CLOSE IENDS AND TO HIS GIRLIEND ALSO. HE BREAKS THE END WHEN HIS GAY INTY IS REVEALED TO THE SOCIETY AND TO HIS FIANCé THROUGH HIS PHOTOGRAPH WH KAMLH WHERE BOTH ARE HUGGG EACH OTHER NAKED. HE IS A DILEMMA AS TO WHAT TO DO: “WHERE DO I BEG? HOW DO I BEG TO LIVE?”(CP P.111.)KIRAN IS THE ONLY HETEROSEXUAL THE PLAY. SHE IS AN ATTRACTIVE AND BETIFUL GIRL HER THIRTI WH ‘EXQUISE BONE STCTURE’ AND HAVG RIGHT LOUR AND FABRIC. THE ‘SRS’ OF THE TROUBLED MARRIAGE HAVE NOT LEFT HER. SHE DIVORCED HER HBAND BEE SHE WANTED “TO PE OM THOSE FIGHTS AT NIGHT…THE HUIATN OF EXPRSG TO IENDS AND NEIGHBOURS…THAT THE BLACK EYE WAS OM BANGG MY HEAD AGAST THE DOOR. OR THE BROKEN RIB WAS OM THE FALL…IT WAS THE CIGARETTE BURNS ON MY ARMS I ULDN’T EXPLA.”(CP P.77.) SHE FEELS THE HUIATN OF BEG BRAND A ‘DIVORCEE’ AS SHE SAYS: “BEG DIVORCED DON’T HELP. EVERYONE SEEMS TO KNOW ALL THE TAILS. OR THK THEY DO. AT THAT PARTY, I FELT THEIR STAR, AS IF THEY WERE SAYG ‘THAT’S KIRAN. THE ONE WHOSE HBAND DUMPED HER.’ KAMLH, TAKE MY ADVICE. DON’T LET PEOPLE KNOW ABOUT YOU. YOU WILL SPEND YOUR WHOLE LIFE FENDG YOURSELF. IF I HAD THE CHOICE, I WOULD STAY VISIBLE.” (CP P. 91) KAMLH HAD TRODUCED HER TO ED WHOM SHE NOW LOV ARLY BUT ASSUM THAT HE IS NOT A GAY. SHE IS PLANNG TO SHIFT TO MUMBAI AFTER MARRIAGE WH ED. SHE TO KNOW ABOUT ED’S INTY AT THE PARTY. SHE SAYS, “IF THERE ARE STEREOTYP AROUND HERE, THEY ARE YOU AND ME. BEE WE DON’T KNOW ANY BETTER, DO WE? WE JT DON’T KNOW WHAT ELSE TO BE?” (CP P.107.)DATTANI HAS BETIFULLY ED THE SYMBOL OF A PHOTOGRAPH TO HIGHLIGHT THE INTY CRISIS THE PLAY. IT IS A PHOTOGRAPH WHERE KAMLH AND ED ARE HUGGG EACH OTHER ‘CHEEK TO CHEEK, PELVIS TO PELVIS, NAKED.’ IT IS THE ONLY PHOTOGRAPH LEFT WH KAMLH AS HE HAS RETURNED ALL THE OTHER SIAR PHOTOGRAPHS TO ED ALONG WH THE NEGATIV. HE WAS HIDG THIS ONE PARTICULAR THE BATHROOM, BEHD THE MIRROR WHICH SHARAD DISVERS AND TAK OUT TO SHOW TO OTHER IENDS. KAMLH FDS BETIFUL BUT ED LLS UGLY AND A PIECE OF FILTH. ED’S LLG UGLY SHOWS THAT HE WAS NOT READY TO LEAVE ANY PROOF OF HIS GAY INTY WH KAMLH. HE ALSO TRI TO M SUICI WHEN HE TO KNOW THAT KIRAN AND OTHER PEOPLE AT THE PARTY AND THE WEDDG HAVE SEEN THE PICTURE AND HIS GAY INTY THAT HE WANTED TO HI WAS REVEALED TO THE PEOPLE. KIRAN WHO IS ‘OZEN’ TO SEE THE PICTURE AT FIRST BUT THEN REPLAC THE PICTURE OF HER AND ED THE AME WH THAT PICTURE SYMBOLIZG THAT SHE NSIRS AN OPEN GAY RELATNSHIP AS A BETTER CHOICE THAN A HIDN ONE. SO THE PICTURE IS THE MOST POWERFUL AND VAL SYMBOL PICTG THE INTY CRISIS ED BY DATTANI THE PLAY.THE ENTIRE EXPERIENCE OF CRISIS, PREDIMENT AND DILEMMA THAT THE HOMOSEXUALS THE PLAY REGARDG THEIR INTY N BE SUMMED UP THE SPEECH OF BUNNY SGH THE THIRD ACT WHEN HE MAK HIS NFSN ONT OF HIS GAY IENDS AND PECIALLY TO KIRAN WHEN HE SAYS:“I HAVE NIED A LOT OF THGS…YOU ALL HATE ME FOR BEG SUCH A HYPOCRE. THE PEOPLE WHO KNOW ME ARE THE PEOPLE WHO HATE ME. THAT IS NOT SUCH A NICE FEELG. I HAVE TRIED TO SURVIVE. IN BOTH THE WORLDS. AND SEEMS I DO NOT EXIST EHER. I AM SORRY, KIRAN, I LIED TO YOU AS I HAVE LIED TO THE RT OF THE WORLD. I SAID TO YOU THAT I AM A LIBERAL-MD PERSON. I AM NOT THEM BUT I ACCEPT THEM. ACTUALLY, IS THEY WHO ARE LIBERAL-MD. THEY HAVE ACCEPTED ME SPE OF MY LETTG THEM DOWN SO BADLY. I NY THEM PUBLIC, BUT I WANT THEIR LOVE PRIVATE. I HAVE NEVER TOLD ANYONE SO MANY WORDS WHAT I AM TELLG YOU NOW- I AM A GAY MAN. EVERYONE BELIEV ME TO BE THE MOL MIDDLE-CLASS INDIAN MAN. I WAS CHOSEN FOR THE PART THE SERIAL BEE I F TO MON PERCEPTNS OF WHAT A FAY MAN OUGHT TO LOOK LIKE. I BELIEVED MYSELF. I LIED- TO MYSELF FIRST. AND I NTUE TO LIE TO LNS OF PEOPLE EVERY WEEK ON THURSDAY NIGHTS.”(CP PP. 102-103.)IT IS JT NOT THE NIAL OF THE TE INTY BY BUNNY SGH BUT THE SPEECH ENPASS THE ENTIRE GAY MUNY THAT IS UNR TREMENDO PRSURE AS HOW TO HI THEIR TE INTY AND BE A HYPOCRE SO THAT THE PEOPLE OF THE ‘ACCEPTABLE WORLD’ SHOULD NOT HATE THEM. ALL OF THEM TRYTO ‘SURVIVE BOTH THE WORLDS’. BUT THEY END UP WH A SENSE OF BELONGGNS TO NONE. JOHN MCRAE PUTS AS:“…THE FLT IS JT NOT THE CHARACTERS’- IS EVERYONE’S, A SOCIETY WHICH NOT ONLY NDON BUT ENURAG HYPOCRISY, WHICH MANDS CE AND NEGATN, RATHER THAN ALLOWG SELF-EXPRSN, RPONSIBILY AND DIGNY.”IVTHIS EXPERIENCE OF NTRADICTN BETWEEN THE SELF AND THE SOCIETY LEADS TO THE INTY CRISIS WHICH HAS BEEN BETIFULLY DRAMATIZED THIS PLAY. THE PLAY IS A VDITN OF RIGHTS OF THE GAYS WHO NEED AT LEAST SOME SOCIAL SPACE TO OVERE THEIR INTY CRISIS. THE PLAY ENDS WH ‘FA OUT LAST ON THE PICTURE OF ED AND KAMLH, KIRAN AND KAMLH HOLDG EACH OTHER’ IMPLYG THE ACCEPTANCE OF GAY INTY BY AT LEAST ONE HETEROSEXUAL AND REVELATN TO THE RT OF THE SOCIETY AND THE PICTURE PICTS THAT THE REALY WILL ALWAYS EXIST HOWSOEVER OR WHOSOEVER TRI TO NY .DATTANI MAK E OF VERY BOLD WORDS THE DIALOGU OF THIS PLAY; WORDS THAT A NSERVATIVE INDIAN SOCIETY DO NOT RELISH PUBLILLY. ONE DON’T HAVE TO LOOK FOR GAY NNOTATNS BETWEEN THE L. WORDS LIKE: BULGE THE PANTS, NUT IEND, BUGGERY, DICKHEAD, LOVE B, PELVIS TO PELVIS, NERDS, FUCKG HOT, FAGGOT, PANSY, GANDU ETC. HAVE BEEN ED WHOUT ANY RTRICTN. THE WORDS HAVE BEEN TAKEN OM THE GAY VOBULARY AND ED HERE TO MAKE THE DIALOGU CRISP AND FUNCTNAL. DATTANI MAK THE CHARACTERS SPEAK LOUD AND LONG OF THEIR SEXUAL SIR AND EXPERIENC THE PLAY. THERE ARE QUICK EXCHANG BETWEEN THE CHARACTERS AND SOMETIM LONG MONOLOGU ARE ED WHEREVER AND WHENEVER NECSARY. DATTANI REALIZ THE NEEDS OF THE THEATRE AND HE FULFILLS THOSE NEEDS HIS OWN BOLD STYLE. IT IS ATTRIBUTED:“DATTANI IS TRSILLY A THEATRE PERSON, RATHER THAN A WRER, IS EVINT THE WAY HE IS ABLE TO STCTURE THE STAGE MECHANISM EFFECTIVELY AND HOW AT TIM ALLOWS THE TEXT TO SPEAK FOR THEMSELV AND TO LOOK AT THEIR OWN WORKGS AND METHODOLOGY. HE EMPLOYS A LANGUAGE THAT IS OFTEN PUNGENT, CLEAR AND SHARP, PHG THE SPOKEN WORD TO S LIMS AND TERFERG THEM WH PREGNANT SILENCE AND THAT ONLY SOMEONE WH AN TIMATE WARDNS WH THEATRE N.”VTO NCLU, WE N SAY THAT MAHH DATTANI’S ON A MUGGY NIGHT MUMBAI, IS A PLAY THAT RAIS EYEBROWS BUT ALSO RAIS MANY QUTNS REGARDG GAY INTY AND ACCEPTABILY THAT MIDDLE CLASS SOCIETY WOULD PREFER TO SWEEP UNR THE RPET AND MATA SILENCE ON THE TOPIC. HE LV EP TO THE MDS OF THE DIVIDUALS AND UNVEILS THE LAYERS OF PLEXI HUMAN RELATNSHIPS AND THEIR SOCIAL POSNG THEREBY NSTCTG THE TABOO SUBJECT OF HOMOSEXUALY SUCH A WAY THAT THE VISIBLE CLUTCH OF THE SOCIETY ON THE PSYCHE OF AN DIVIDUAL ARE REVEALED. MAHH DATTANI NEVER TRI TO SOUND DIDACTIC BUT THE DIENCE IS MA TO THK WHETHER SOCIETY SHOULD EXPECT GAYS TO CHANGE WHAT THEY N’T? THEY JT EXPECT SOCIETY TO ACCEPT AND RPECT THEM FOR WHO THEY ARE AND WILL ALWAYS BE.NOT AND REFERENC:
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MAHH DATTANI’S ON A MUGGY NIGHT MUMBAI: AN ARTICULATN OF GAY INTY CRISIS POSTED ON OCTOBER 1, 2021OCTOBER 1, 2021 BY VISHWANATH BEJASPAL SGHMAHH DATTANI, THE SAHYA AMY AWARD WNER PLAYWRIGHT GIV THE HOMOSEXUALS OF INDIA A VOICE TO ARTICULATE, PROBABLY FOR THE VERY FIRST TIME THE INDIAN THEATRE HIS PLAYS LIKE ON A MUGGY NIGHT MUMBAI, DO THE NEEDFUL AND BRAVELY FOUGHT THE QUEEN. HE SPOTLIGHTS THE CRISIS THAT GAYS FACE AS THEY ARE TORN BETWEEN THEIR TE SELF AND WHAT THE TRADNAL INDIAN SOCIETY THKS AND EXPECTS OF THE GAYS. THEIR HIDN FEARS AND FEELGS ARE REFULLY PORTRAYED THE PLAYS. DATTANI, WH THE AMEWORK OF DRAMATIC STCTURE TRI TO VTIGATE THE INTY CRISISI OF THE GAYS WHO OCCUPY NO HONOURABLE SPACE SOCIAL ORR. THERE ISSUE IS VISIBLE THE SOCIETYII ABOUT WHICH NONE PUBLILLY TALKS OR WR. ON A MUGGY NIGHT MUMBAI IS A PLAY THAT PICTS THE SOCIAL SPACE OF VLENCE AND HUIATN FACED BY THEM. FIRST PERFORMED AT THE TATA THEATRE, MUMBAI ON 23RD NOV., 1998 AND THEN ADAPTED TO A FILM MANGO SOUFFLé, ON A MUGGY NIGHT MUMBAI IS PROBABLY THE BT AND THE MOST PLEX PLAY THAT DISCS THE SOC-PSYCHOLOGIL INTY CRISIS OF THE GAYS WHO ARE TORN BETWEEN THE SOCIAL TABOOS AND THEIR PERSONAL SIR, THEIR NSCIENCE AND SOCIAL NSCNS. IT DRAMATIZ THE NFLICTS, ANGUISH,DILEMMAS, SECURI, FEARS AND TRATN OF THE GAYS THE SOCIETY. JOHN MC. RAE WR ANOTE ON THE PLAY:“IT IS NOT SIMPLY THE FIRST PLAY INDIAN THEATRE TO HANDLE OPENLY GAY THEM OF LOVE, PARTNERSHIP, TST AND BETRAYAL. IT IS A PLAY ABOUT HOW SOCIETY CREAT PATTERNS OF BEHAVUR AND HOW EASY IS FOR DIVIDUALS TO FALL VICTIM TO THE EXPECTATNS SOCIETY CREAT.”IIIDATTANI HAS MA E OF MULTI-LEVEL STAGE TO REPRENT THE DIFFERENT SPAC OF HOEHOLD REPRENTG THE MENTAL SPAC OF THE CHARACTERS AND THE DIFFERENT REALI THEY LIVE . THE DARK EXPENSIVE AREA REPRENTS THE MENTAL ANGUISH AND DILEMMA OF THE CHARACTERS WHILE THE OPEN SPACE REPRENTS THE ACTN THE NTEXT OF EXTERNAL THOUGHTS. ALL THE ACTN TAK PLACE KAMLH’S FLAT THAT IS DIVID TO THREE SPAC – THE LIVG ROOM, THE BED ROOM AND THE NON REALISTIC EXPENSIVE STATE. THE FLAT IS SUATED AT THE MARE DRIVE WHICH GIV THE IA OF THE LUXUR LIFE OF MUMBAI. THERE IS A NTRAST BETWEEN THE GLOR VIEW OF THE ‘QUEEN’S NECKLACE’ AND THE ISOLATED FLAT OF KAMLH WHICH SHOWS THE NTRAST BETWEEN THE PUBLIC AND PRIVATE LIFE OF THE GAYS. THE SEND IS THE BEDROOM OF KAMLH WHICH IS HIDN BEHD THE WALL WHICH GIV AN IMAGE OF MYSTERY AND PRIVACY. THE THIRD AREA IS THE SPACE WHERE THE CHARACTERS IMMEDIATELY SPEND TO THE “SHOONYA” AND THEIR NERMOST THOUGHTS AND FEELGS E OUT.DATTANI CLEVERLY JUXTAPOS TWO NTRASTG SCENARS WHERE THERE IS THE GATHERG OF GAYS A FLAT ON ONE HAND, WHERE ALL THE ACTN TAK PLACE AND OF A WEDDG GOG ON OFFSTAGE AND SOUNDS OF CELEBRATN ARE QUE LOUD AND CLEAR. THE WEDDG IS THE SANCTIFITN AND ENDORSEMENT OF A HETEROSEXUAL RELATNSHIP AND “THE WHOLE WORLD ACKNOWLEDG TWO PEOPLE WHO ENTER A UNN PACT, SO THEY HAVE TO STICK BY THAT.”(COLLECTED PLAYS P.72.) THE SOCIETY APPROV OF A HETEROSEXUAL RELATNSHIP BUT THE HOMOSEXUAL RELATNS ARE LOOKED DOWN UPON BY THE MAJORY. THE GAYS PRENT THE PARTY FEEL THE PRSURE OF THE SOCIAL CTOMS AND TRADNS. THEY TRY TO GA SPACE AND E TO TERMS WH THEIR OWN INTY NTRAST TO THE SOCIAL NORMS. KIR, THE HEROE OF THE PLAY SAYS, “I REALLY WISH THEY WOULD ALLOW GAY PEOPLE TO MARRY.” AND SHE GETS A REPLY OM RANJ WHO SAYS, “THEY DO. ONLY NOT TO THE SAME SEX.” (CP P.98.)WE SEE A HOST OF GAYS AT THE PARTY THE FLAT AND THEY REPRENT VARIED FAC OF THE HOMOSEXUAL MUNY. THEY ALL ARE PLEX CHARACTERS WHO NNOT BE UNRSTOOD BY THEIROUTWARD GENR PREFERENC ONLY. THEY HAVE THEIR OWN FEARS AND FANTASI, R AND NCERNS, NSCIENCE AND NSCNS, EMOTNS AND PASSNS AS PART OF THEIR PERSONALY TRAS LIKE ANYBODY ELSE. THEY HAVE DIFFERENT EXPRSNS REGARDG THEIR INTY. THEY HAVE GATHERED TOGETHER AT THE VATN OF KAMLH WHO IS A ‘RECLE’ THE HEART OF BOMBAY AND IS UNABLE TO FET HIS LOVER ED/PARKASH. KAMLH IS NOT A CLOSET HOMOSEXUAL WHO WANTS TO HI HIS TE SELF. HE HIMSELF SAYS, “HOW LONG SHALL WE NTUE TO HI? WE N’T HI FOREVER!” (CP P.91) BUT HIS GAY PARTNER ED HAS BETRAYED HIM AND HE FEELS DOWN AND OUT BEE OF THAT. HE EVEN TRI TO TAKE THE HELP OF A PSYCHIATRIST OUT OF THE ‘YELLOW PAG’ WHO PRETENDS TO UNRSTAND HIS SE AND TELLS HIM ABOUT THE ‘AVERSN THERAPY’ TO HELP HIM FIGHT THE PRSN BUT “HE SAID I WOULD NEVER BE HAPPY AS A GAY MAN. IT IS IMPOSSIBLE TO CHANGE THE SOCIETY, HE SAID, BUT MAY BE POSSIBLE FOR YOU TO REORIENT YOURSELF.” (CP P. 69.) BUT HE WAS ALL THE MORE OBSSED WH THE MEMORY OF ED WHICH KEEPS ‘CROPPG UP’ HIS MD ‘LIKE HERP’. HE END UP “PICKG UP STRANGERS-BRGG THEM OVER-HOPG TO NNECT” (CP P.70.) AND WAS “SCREWG ANYTHG THAT HAS A BULGE THE PANTS.” (CP P.63.) HE EVEN DULGED SEXUAL RELATNS WH THE GUARD AND THE SECRETARY OF THE SOCIETY. IT IS THE FAILURE ON THE PART OF KAMLH TO ‘REORIENT’ BUT SUCCS OR AT LEAST A PRETENTN OF SUCCS ON THE PART OF ED WHEN HE PRETENDS TO BE ‘STRAIGHT’ BEE THE CHURCH AND THE PSYCHIATRIST HAVE HELPED HIM BELIEVE THAT HIS LOVE FOR KAMLH WAS “THE WORK OF THE VIL. NOW THE VIL HAS LEFT HIM.”(CP P.85.) IT IS NOT THE DIVIDUALS ALONE WHO DISAPPROVE HOMOSEXUALY BUT THE HIGH STUTNS OF SOCIETY LIKE CHURCH WHO DO NOT APPROVE AND SANCTIFY SUCH RELATNS BEE RELATNS BETWEEN SAME SEX, SCE THEY NNOT BE PROCREATIVE ARE SEEN AS UNNATURAL AND RNAL.ED HAS LEFT HIM BEE HE WANTS TO HI HIS GAY INTY AND THEREFORE HE TENDS TO MARRY KIRAN WHO IS KAMLH’S SISTER. HE WANTS TO REMA TOUCH WH KAMLH THROUGH KIRAN SO THAT NOBODY SPECTS HIS INTY. HE SAYS, “NOBODY WOULD KNOW. NOBODY WOULD RE…I’LL TAKE RE OF KIRAN. AND YOU TAKE RE OF ME.”(CP P.105.) HE SE NO FUTURE OPEN GAY RELATNSHIP. HE DO NOT WANT HIMSELF TO BE BRAND PUBLILLY AS A GAY. HE FENDS HIMSELF OF HIS TENTNS OF PRETENDG ‘STRAIGHT’ THE ARGUMENTS THE PARTY WHEN HE SAYS,“LOOK AROUND YOU. LOOK OUTSI…THERE ARE REAL MEN AND WOMEN OUT THERE. YOU HAVE TO SEE THEM TO KNOW WHAT I MEAN. BUT YOU DON’T WANT TO. YOU DON’T WANT TO LOOK AT THE WORLD OUTSI THIS- THIS N OF YOURS. ALL OF YOU WANT TO LIVE YOUR OWN LTLE BUBBLE.”(CP P. 99.)DEEPALI IS A ‘SENSIBLE’ LBIAN AMONG THE GROUP. SHE FEELS SYMPATHETIC AND NCERNED OF KAMLH AND HAS AN AFFY TOWARDS HIM WHICH IS REFLECTED HER NVERSATN WH KAMLH, “IF YOU WERE A WOMAN, WE WOULD BE LOVE…IF YOU WERE HETEROSEXUAL, WE WOULD BE MARRIED.”(CP P.65.) SHE IS VOL OF HER SEXUAL CLATNS HER ARGUMENTS AT THE PARTY AND SAYS, “IT’S NOT SHAME, IS ? WH ?… OF THE RNERS WE WILL BE PHED TO WHERE WE DON’T WANT TO BE” (CP P. 89.) AND OF THE GAY E, “I AM ALL FOR THE GAY MEN’S E. MEN SERVE ONLY MEN!”(CP P.60.)THE GUARD WHO DO ODD JOBS FOR THE PEOPLE AT THE PARTY IS ALSO A HOMOSEXUAL WHO IS SEEN PUTTG UP HIS CLOTH ONT OF KAMLH JT AT THE BEGNG OF THE PLAY. RANJ WHO WANTS TO HI HIS GAY INTY INDIA HAS HIS GAY PARTNER ENGLAND.THE WHOLE PLAY REVOLV AROUND THE INTY CRISIS EDW PRAKASH MATTHEW ALIAS ED BUT IS JT NOT ED WHO IS FACG THIS CRISIS. ALL THE GAYS THE PLAY ARE FACG THIS CRISIS. WE HAVE ANOTHER EXAMPLE OF THE LIKE OF ED AS BUNNY SGH WHO ADMS THAT WHAT HE IS DOG, HE IS JT TRYG TO “CAMOUFLAGE! EVEN ANIMALS DO . BLEND WH THE SURROUNDGS. THEY N’T FD YOU. YOU POLILLY RRECT GAYS NY YOURSELF THE BASIC ANIMAL STCT OF MOUFLAGE.” (CPP.70.) HE IS A SARDAR WHO HAS CUT HIS HAIR TO HI HIS OUTER RELIG INTY AND HAS MARRIED TO HI HIS NER GAY INTY. BUT HE IS A SUCCS THE TV PROGRAM ‘YEH HAI HAMARA PARIVAAR’. THE TLE OF THE PROGRAM AND S SUCCS SUGGTS THAT INDIA HAS A TRADNAL SOCIETY AND SOCIAL SETUP. HE IS A WONRFUL IAL MIDDLE CLASS INDIAN TOWARDS WHOM EVERYONE LOOKS UP TO: THE ‘IAL HBAND AND FATHER’.ED IS ALSO TRYG TO ‘MOUFLAGE’ THE SAME MANNER AS BUNNY SGH IS DOG. HE IS UNR IMMENSE PSYCHOLOGIL PRSURE AND IS ON THE VERGE OF A NERVO BREAKDOWN. ON ONE HAND HE IS NFLICT WH KAMLH WHOM HE LEAV BEE HE WAS ASHAMED OF HIS RELATNSHIP WH HIM AND HE DID NOT WANT TO BE BRAND AS A GAY THE SOCIETY AND ON THE OTHER HAND HE IS NFLICT WH KIRAN OM WHOM HE HIS HIS TE INTY BUT TRI TO E HER TO REMA TOUCH WH KAMLH. SHARAD IS THE ANTHIS OF ED WHO IS VOL OF HIS GAY INTY. “LET THE WORLD KNOW THAT YOU EXIST. HONEY IF YOU FLNT , YOU’VE GOT .”(CP P.70.) HE HIMSELF ADMS THAT “I AM NOT BISEXUAL. I AM GAY AS A GOOSE.”(CP P.100.) AND TEAS ED WH HIS SPEECH ON ‘MACHO MAN SYNDROME’ THAT ED TRI TO FEIGN:“YOU SEE, BEG A HETEROSEXUAL MAN—A REAL MAN AS ED PUT —I GET EVERYTHG. I GET TO BE ACCEPTED-ACCEPTED BY WHOM?……. THAT MARRIAGE LOT DOWN THERE FOR STANCE. I N HAVE A WIFE, I N HAVE CHILDREN WHO WILL ALL ADORE ME SIMPLY BEE I AM A HETERO…….I BEG YOUR PARDON—A REAL MAN. NOW WHY WOULD I WANT TO GIVE ALL UP? SO WHAT IF I HAVE TO CHANGE A LTLE? IF I N BE A REAL MAN I N BE KG. LOOK AT ALL THE KGS AROUND YOU, LOOK AT ALL THE MALE POWER THEY ENJOY, THSTG THEMSELV ON TO THE WORLD, ALL THAT PENIS POWER! POWER WH SEX, POWER WH MCLE, POWER WH SIZE. FIRG ROCKETS, EXPLODG NUCLEAR BOMBS, IF YOU N DO FIVE TIM I N DO SIX TIM AND ALL THAT STUFF. (THSTG HIS PELVIS AN OBSCENE MACHO FASHN.) POWER, MAN! POWER!” (CP VOL. I P. 101.)ED TRI TO BE THE ‘KG’ THE SOCIETY BY PRETENDG BEG ‘STRAIGHT’ BUT NNOT HI HIS TE SELF AS HE HAS A PAST AND THAT PAST HNTS HIM.SHARAD PPOTS THE CRISIS ED’S MD THROUGH THE GAY ANTHEM THAT HE SGS THE BEGNG AND THE END OF THE PLAY WHICH IS THE ENGLISH VERSN OF CHARL AZNAVOUR’S ‘COMME ILS DISENT’ ‘WHAT MAK A MAN A MAN’:SO MANY TIM WE HAVE TO PAYFOR HAVG FUN AND BEG GAY….(CP PP. 55-56.)I ASK MYSELF WHAT I HAVE GOTAND WHAT I AM AND WHAT I’M NOT…(CP P.111.)‘TO BE OR NOT TO BE’ INTIFIED AS A GAY ‘IS THE QUTN’ THAT ED AND OTHER GAYS THE PLAY FACE. OVERWHELMED BY THE CIRCUMSTANC AND SOCIAL PRSUR, ED TWICE TRI TO M SUICI THE PLAY. HIS ATTEMPT TO SUICI SHOWS THAT HE IS THE WEAKT OF ALL THE HOMOSEXUALS THE PLAY BEE HE IS SUFFERG THE MOST OM THIS INTY CRISIS. THE OTHER CHARACTERS THE PLAY HAVE THIS CRISIS ALSO BUT THEY HAVE SOME FAH AND BELIEF THEIR INTY ALSO AND THEY ARE ARTICULATE ABOUT AT LEAST THEIR ‘BUBBLE’. BUT ED DON’T WANT HIS TE INTY TO BE REVEALED EVEN TO HIS CLOSE IENDS AND TO HIS GIRLIEND ALSO. HE BREAKS THE END WHEN HIS GAY INTY IS REVEALED TO THE SOCIETY AND TO HIS FIANCé THROUGH HIS PHOTOGRAPH WH KAMLH WHERE BOTH ARE HUGGG EACH OTHER NAKED. HE IS A DILEMMA AS TO WHAT TO DO: “WHERE DO I BEG? HOW DO I BEG TO LIVE?”(CP P.111.)KIRAN IS THE ONLY HETEROSEXUAL THE PLAY. SHE IS AN ATTRACTIVE AND BETIFUL GIRL HER THIRTI WH ‘EXQUISE BONE STCTURE’ AND HAVG RIGHT LOUR AND FABRIC. THE ‘SRS’ OF THE TROUBLED MARRIAGE HAVE NOT LEFT HER. SHE DIVORCED HER HBAND BEE SHE WANTED “TO PE OM THOSE FIGHTS AT NIGHT…THE HUIATN OF EXPRSG TO IENDS AND NEIGHBOURS…THAT THE BLACK EYE WAS OM BANGG MY HEAD AGAST THE DOOR. OR THE BROKEN RIB WAS OM THE FALL…IT WAS THE CIGARETTE BURNS ON MY ARMS I ULDN’T EXPLA.”(CP P.77.) SHE FEELS THE HUIATN OF BEG BRAND A ‘DIVORCEE’ AS SHE SAYS: “BEG DIVORCED DON’T HELP. EVERYONE SEEMS TO KNOW ALL THE TAILS. OR THK THEY DO. AT THAT PARTY, I FELT THEIR STAR, AS IF THEY WERE SAYG ‘THAT’S KIRAN. THE ONE WHOSE HBAND DUMPED HER.’ KAMLH, TAKE MY ADVICE. DON’T LET PEOPLE KNOW ABOUT YOU. YOU WILL SPEND YOUR WHOLE LIFE FENDG YOURSELF. IF I HAD THE CHOICE, I WOULD STAY VISIBLE.” (CP P. 91) KAMLH HAD TRODUCED HER TO ED WHOM SHE NOW LOV ARLY BUT ASSUM THAT HE IS NOT A GAY. SHE IS PLANNG TO SHIFT TO MUMBAI AFTER MARRIAGE WH ED. SHE TO KNOW ABOUT ED’S INTY AT THE PARTY. SHE SAYS, “IF THERE ARE STEREOTYP AROUND HERE, THEY ARE YOU AND ME. BEE WE DON’T KNOW ANY BETTER, DO WE? WE JT DON’T KNOW WHAT ELSE TO BE?” (CP P.107.)DATTANI HAS BETIFULLY ED THE SYMBOL OF A PHOTOGRAPH TO HIGHLIGHT THE INTY CRISIS THE PLAY. IT IS A PHOTOGRAPH WHERE KAMLH AND ED ARE HUGGG EACH OTHER ‘CHEEK TO CHEEK, PELVIS TO PELVIS, NAKED.’ IT IS THE ONLY PHOTOGRAPH LEFT WH KAMLH AS HE HAS RETURNED ALL THE OTHER SIAR PHOTOGRAPHS TO ED ALONG WH THE NEGATIV. HE WAS HIDG THIS ONE PARTICULAR THE BATHROOM, BEHD THE MIRROR WHICH SHARAD DISVERS AND TAK OUT TO SHOW TO OTHER IENDS. KAMLH FDS BETIFUL BUT ED LLS UGLY AND A PIECE OF FILTH. ED’S LLG UGLY SHOWS THAT HE WAS NOT READY TO LEAVE ANY PROOF OF HIS GAY INTY WH KAMLH. HE ALSO TRI TO M SUICI WHEN HE TO KNOW THAT KIRAN AND OTHER PEOPLE AT THE PARTY AND THE WEDDG HAVE SEEN THE PICTURE AND HIS GAY INTY THAT HE WANTED TO HI WAS REVEALED TO THE PEOPLE. KIRAN WHO IS ‘OZEN’ TO SEE THE PICTURE AT FIRST BUT THEN REPLAC THE PICTURE OF HER AND ED THE AME WH THAT PICTURE SYMBOLIZG THAT SHE NSIRS AN OPEN GAY RELATNSHIP AS A BETTER CHOICE THAN A HIDN ONE. SO THE PICTURE IS THE MOST POWERFUL AND VAL SYMBOL PICTG THE INTY CRISIS ED BY DATTANI THE PLAY.THE ENTIRE EXPERIENCE OF CRISIS, PREDIMENT AND DILEMMA THAT THE HOMOSEXUALS THE PLAY REGARDG THEIR INTY N BE SUMMED UP THE SPEECH OF BUNNY SGH THE THIRD ACT WHEN HE MAK HIS NFSN ONT OF HIS GAY IENDS AND PECIALLY TO KIRAN WHEN HE SAYS:“I HAVE NIED A LOT OF THGS…YOU ALL HATE ME FOR BEG SUCH A HYPOCRE. THE PEOPLE WHO KNOW ME ARE THE PEOPLE WHO HATE ME. THAT IS NOT SUCH A NICE FEELG. I HAVE TRIED TO SURVIVE. IN BOTH THE WORLDS. AND SEEMS I DO NOT EXIST EHER. I AM SORRY, KIRAN, I LIED TO YOU AS I HAVE LIED TO THE RT OF THE WORLD. I SAID TO YOU THAT I AM A LIBERAL-MD PERSON. I AM NOT THEM BUT I ACCEPT THEM. ACTUALLY, IS THEY WHO ARE LIBERAL-MD. THEY HAVE ACCEPTED ME SPE OF MY LETTG THEM DOWN SO BADLY. I NY THEM PUBLIC, BUT I WANT THEIR LOVE PRIVATE. I HAVE NEVER TOLD ANYONE SO MANY WORDS WHAT I AM TELLG YOU NOW- I AM A GAY MAN. EVERYONE BELIEV ME TO BE THE MOL MIDDLE-CLASS INDIAN MAN. I WAS CHOSEN FOR THE PART THE SERIAL BEE I F TO MON PERCEPTNS OF WHAT A FAY MAN OUGHT TO LOOK LIKE. I BELIEVED MYSELF. I LIED- TO MYSELF FIRST. AND I NTUE TO LIE TO LNS OF PEOPLE EVERY WEEK ON THURSDAY NIGHTS.”(CP PP. 102-103.)IT IS JT NOT THE NIAL OF THE TE INTY BY BUNNY SGH BUT THE SPEECH ENPASS THE ENTIRE GAY MUNY THAT IS UNR TREMENDO PRSURE AS HOW TO HI THEIR TE INTY AND BE A HYPOCRE SO THAT THE PEOPLE OF THE ‘ACCEPTABLE WORLD’ SHOULD NOT HATE THEM. ALL OF THEM TRYTO ‘SURVIVE BOTH THE WORLDS’. BUT THEY END UP WH A SENSE OF BELONGGNS TO NONE. JOHN MCRAE PUTS AS:“…THE FLT IS JT NOT THE CHARACTERS’- IS EVERYONE’S, A SOCIETY WHICH NOT ONLY NDON BUT ENURAG HYPOCRISY, WHICH MANDS CE AND NEGATN, RATHER THAN ALLOWG SELF-EXPRSN, RPONSIBILY AND DIGNY.”IVTHIS EXPERIENCE OF NTRADICTN BETWEEN THE SELF AND THE SOCIETY LEADS TO THE INTY CRISIS WHICH HAS BEEN BETIFULLY DRAMATIZED THIS PLAY. THE PLAY IS A VDITN OF RIGHTS OF THE GAYS WHO NEED AT LEAST SOME SOCIAL SPACE TO OVERE THEIR INTY CRISIS. THE PLAY ENDS WH ‘FA OUT LAST ON THE PICTURE OF ED AND KAMLH, KIRAN AND KAMLH HOLDG EACH OTHER’ IMPLYG THE ACCEPTANCE OF GAY INTY BY AT LEAST ONE HETEROSEXUAL AND REVELATN TO THE RT OF THE SOCIETY AND THE PICTURE PICTS THAT THE REALY WILL ALWAYS EXIST HOWSOEVER OR WHOSOEVER TRI TO NY .DATTANI MAK E OF VERY BOLD WORDS THE DIALOGU OF THIS PLAY; WORDS THAT A NSERVATIVE INDIAN SOCIETY DO NOT RELISH PUBLILLY. ONE DON’T HAVE TO LOOK FOR GAY NNOTATNS BETWEEN THE L. WORDS LIKE: BULGE THE PANTS, NUT IEND, BUGGERY, DICKHEAD, LOVE B, PELVIS TO PELVIS, NERDS, FUCKG HOT, FAGGOT, PANSY, GANDU ETC. HAVE BEEN ED WHOUT ANY RTRICTN. THE WORDS HAVE BEEN TAKEN OM THE GAY VOBULARY AND ED HERE TO MAKE THE DIALOGU CRISP AND FUNCTNAL. DATTANI MAK THE CHARACTERS SPEAK LOUD AND LONG OF THEIR SEXUAL SIR AND EXPERIENC THE PLAY. THERE ARE QUICK EXCHANG BETWEEN THE CHARACTERS AND SOMETIM LONG MONOLOGU ARE ED WHEREVER AND WHENEVER NECSARY. DATTANI REALIZ THE NEEDS OF THE THEATRE AND HE FULFILLS THOSE NEEDS HIS OWN BOLD STYLE. IT IS ATTRIBUTED:“DATTANI IS TRSILLY A THEATRE PERSON, RATHER THAN A WRER, IS EVINT THE WAY HE IS ABLE TO STCTURE THE STAGE MECHANISM EFFECTIVELY AND HOW AT TIM ALLOWS THE TEXT TO SPEAK FOR THEMSELV AND TO LOOK AT THEIR OWN WORKGS AND METHODOLOGY. HE EMPLOYS A LANGUAGE THAT IS OFTEN PUNGENT, CLEAR AND SHARP, PHG THE SPOKEN WORD TO S LIMS AND TERFERG THEM WH PREGNANT SILENCE AND THAT ONLY SOMEONE WH AN TIMATE WARDNS WH THEATRE N.”VTO NCLU, WE N SAY THAT MAHH DATTANI’S ON A MUGGY NIGHT MUMBAI, IS A PLAY THAT RAIS EYEBROWS BUT ALSO RAIS MANY QUTNS REGARDG GAY INTY AND ACCEPTABILY THAT MIDDLE CLASS SOCIETY WOULD PREFER TO SWEEP UNR THE RPET AND MATA SILENCE ON THE TOPIC. HE LV EP TO THE MDS OF THE DIVIDUALS AND UNVEILS THE LAYERS OF PLEXI HUMAN RELATNSHIPS AND THEIR SOCIAL POSNG THEREBY NSTCTG THE TABOO SUBJECT OF HOMOSEXUALY SUCH A WAY THAT THE VISIBLE CLUTCH OF THE SOCIETY ON THE PSYCHE OF AN DIVIDUAL ARE REVEALED. MAHH DATTANI NEVER TRI TO SOUND DIDACTIC BUT THE DIENCE IS MA TO THK WHETHER SOCIETY SHOULD EXPECT GAYS TO CHANGE WHAT THEY N’T? THEY JT EXPECT SOCIETY TO ACCEPT AND RPECT THEM FOR WHO THEY ARE AND WILL ALWAYS BE.NOT AND REFERENC:

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