Companionship-Its Need, Social Relevance and Acceptance: A Critique of its Apt Expression in U Turn 2

Companionship-Its Need, Social Relevance and Acceptance: A Critique of its Apt Expression in U Turn 2

I am a theatre lover and this year, not too many Marathi plays were staged in Nagpur.  Recently, I had watched Mahesh Elkunchawar’s Magna Talyakathi and loved it. It was second in the part of a triology. Immediately after that, I came across the Press Release of U Turn 2. U Turn was such a thought provoking experience. Naturally the sequel was something to look forward to. And it did not belittle my expectations.

The very title of the play is symbolic and suggests that taking a ‘U turn’ in life is not a smooth process. One has to overcome too many obstacles and cross barriers to do it. The play has been written and directed by Ananad Mhasvekar. U Turn is based on the relationship of a divorcee Major Sudhir and a widow Ramabai Gokhale and their need for companionship. Major Sudhir’s faith in the institution of marriage is destroyed because of Swati-his first wife. He has a daughter-Manju who is settled in Bangalore and Ramabai’s only son, Sahil, is settled abroad. The son and daughter are concerned about the parents and their being on their own. Major Sudhir and Rama meet each other and though their perspectives on life are different, develop a companionship and spend a year with each other in the Major’s home at Mumbai. Problems crop up when both decide to unite and the children tooth and nail oppose it. Ramabai does not want to make kids unhappy and so returns back to her home town Pune. The Major insists on living in the present where as Ramabai is always living in the past. Their two children represent the parochial Indian mentality in opposing their relationship.

The script of U Turn 2 has been written and directed by Ananad Mhasvekar.  The story of U Turn is narrated at the beginning of the play in a very interesting manner using the cinematographic technique of flash back. It is one year after their separation and Ramabai is living all alone in an apartment scheme in Pune. To alleviate her loneliness, she has become an avid reader and devours Marathi poetry and literature G.A. She quotes Grace in the play and at pertinent places in such an exquisite manner resulting in goose bumps. She checks her blood pressure and sugar regularly at home, having purchased Gluco-Meter and B,P. Monitoring apparatus and knows that these are stress induced disorders. She watches all health related shows on TV. One day, out of blue, the Major knocks at her door and later on due to heart related issues stays with her and undergoes angiography, angioplasty and treatment. Ramabai copes up with this emergency very bravely despite of the break up. Ramabai has not contacted him because she thought that he might have found another companion or reconciled with his ex-wife. Yet paying heed to his suggestion, she has started living in the present and pushed her past behind. He is an integral part of her life in his absence too. Her concern and anxiety about his health is obvious and she persuades him to stay with her. As the stay of the Major with her lengthens, she tells her neighbours that he is her cousin from Mumbai. She shoulders the entire responsibility of his hospitalization and further treatment, including expenditure. The Major is against her lies but she informs him that the Pune culture is unique and different from Mumbai. Soon they start facing problems in their apartment scheme as well as outside in the society. The so called ‘Sanskruti Rakshak’ ill treate them by abusing them, drawing their posters on the compound wall, subject them to noise pollution, harass them in multiple ways, smear faces and thus deprive them of peace and sound, secure living. Major suggests shifting to Mumbai where people don’t interfere and provide more space. But how can Ramabai accept this suggestion? Major Sudhir has been a warrior and fighter throughout his life and now he can’t run away from the situation. The smearing of the face provokes a strong reaction from the media and results in solidarity of the senior citizens and Major and Ramabai become its pro-active office bearers. They get wide publicity in the media and their cause is recognised. This fame ushers in unhappiness and distress in the life of their children who articulate their resentment eloquently. Ramabai insists on a wedding but Major holds back due to his bitter experience. Ramabai too would have loved to marry of her own volition but is not ready to do it under coercion. What to do in such a situation- a tight corner? They want to be together but it is not acceptable to the society. Too many questions pertaining to relationships and its complex natures, social norms, values and culture versus their freedom, personal space and decisions, raise head and remain unanswered. The writer does not show the expected culmination of the relationship in a marriage and leaves the play open ended. Even though many of my friends were disappointed with this end, I find it appropriate. It is very difficult to provide a readymade/tailor made solution of this problem.  Movements of senior citizens have gathered momentum and how much should we pay heed to these moral custodians and their policing is a question each one has to ponder over for himself/herself. How can each one of us, irrespective of age, help change society for better by getting rid of our parochial mindset? This change is the need of the time and we, who are otherwise very broadminded and modern, should open our eyes wide and redress the problem. Of course, the play does not convey any message or preach us, but we have to put on our thinking caps. New and fresh spectacles are necessary to understand this mature, seasoned and platonic relationship. A famous dialogue from U Turn says, “Aata sukh-dukhaakade baghnyaacha drishtikon badlayla hawa. Nahitar evdhe varsh angaawar nusta paani padala aani vahun gela asa hoil.” It can be interpreted as ‘Palthya ghadyavar pani takane’. It can be literally translated as “Now in this ripe old age, the perspective towards ups and downs should change. Otherwise it would mean that the experience acquired in all these years is in vain”. Then we realize that the play is an effort to provide a new dimension and perspective to human life and  a take on relationships.

There are only two characters on the stage: Ramabai Gokhale and Major Sudhir. Their children, Madhu and Sahil with Goldie, make their presence felt through telephone conversations. The play centres round Ramabai, assayed by Ila Bhate, with grace and ease. She emotes brilliantly and her body language and modulations in voice are just amazing. She comes out as a very sensitive, caring and positive person ready to take cudgels against the society but wants to surrender when kids start suffering. She has accepted Major’s daughter as if her own, without any feeling of resentment and prejudices. She stands by her side in her hour of difficulty. She responds very positively to her son’s request to help assist in delivery in spite of the Major’s efforts to expose their selfishness. Kudos to her for living her character. And in sharp contrast, the Major’s character is rather stark, in keeping with his military career and showing his strength as a fighter and his disgust of “bloody civilians.” He is disciplined, practical and does not mince words. He is detached from his daughter but yet concerned about her well being. This detached behaviour is not possible for Ramabai whom he respects and admires for her qualities of the head and heart. He expresses it very subtly in the play. Girish Oke is very restrained in his acting. This veteran’s prowess is noteworthy in his reaction and response to the disconnection of electricity and bolting of the main door from outside scene.

I think, the writer, Anand Mhaswekar’s choice of the setting of the play is justifiable. It is set in Pune which is known to be an epitome of Maharashtra culture, values and traditions. Places, symbols and images associated with this culture have been showcased and employed in an effective way in the script. These include Saras Baag with its temple, Shaniwarwada and Chitale Bandhu. (Many digs also find a place in the script at Pune and Punekars almost reminding us of all those messages that we enjoy on What’s App about them.) Naturally, Sanskruti Rakshaks of Pune, who are torch bearers of Sanskruti, cannot accept such a dynamic, pure relationship and are shown to be unsympathetic, narrow minded and conservative in their outlook. This is the grim reality of life and that is why, a strong movement has begun against this conservative mentality.

Before I wind up, let me mention that in spite of the grave subject matter, the play abounds in many moments of light banter and subtle humour. The best dialogue, perhaps I would always love and remember it, is about clicking of a selfie. The Major in his formal suit boot attire and Ramabai in a beautiful brocade saree are ready to leave for a candle light march and he suggest clicking of a selfie. Ramabai laughs at this and the Major in a bantering manner says that ‘when you click a selfie, all those who oppose you, are behind your backs, as if supporting you and you are in the forefront.’ Grace and Soumitra’s poem on life have been embedded perfectly in the script. On the whole, U Turn 2 is play not to be missed at all for all the above cited reasons and many more which I can’t encapsulate in words.