Attended a thematic program titled 'Haaye Akhtari' (हायअख्तरी), celebrating 100 years of Begum Akhtar's musical legacy presented by Malhaar on 19th Sep 2015 at Madinat theater, Dubai with Nandu, Jayant and my father.
Begum Akhtar was called 'Malika-e-Gazal (मलिका ए गझल)' and was known for her Gazals, Thumris and Dadras. She was instrumental in bringing singing from 'Tawayafkhana' to respect.
Program started from Begum Akhtar's childhood and took us through death of her twin sister, her musical education, her success as Akhtari bai Faisabadi, her rape, birth of a daughter from the rape, her mother's decision to make her daughter her little sister, move to Calcutta, success of her LPs, her film career, her decision to quit films and later quit singing, her marriage, Indian independence, death of her mother, restart of her singing (her life), her performance at Shimla political summit and her death during a concert.
The lighthouse in her life was her mother who stood by her in thick and thin, supported her, took care of her, guided her and accepted public shame for her.
A number of taans (तान) and mukhdas (मुखडा) were presented along with a few full songs. First full song was a Thumri 'Ankhiyan nind na aayi (अखियन् निंद ना आई)' in Mishra Tilang. Balamwa tum kya jano preet (बलमवा तुम क्या जानो प्रीत). Aalam hai tanahai ka (आलम है तनहाईका). Bahut kathin hai dagar panghatki (बहुत कठिन है डगर पनघट की). Deewana banana hai to deewan bana de (दीवाना बनाना है तो दीवाना बना दे). Koi keh de gulshan gulshan (कोई कह दे गुलशन गुलशन), this was presented with an excellent dance. Part Bengali party Hindi song Koyaliya (कोयलिया). Cha rahi kaali ghata (छा रही काली घटा). Mere hamnafas mere hamnawaz (मेरे हमनफस मेरे हमनवाझ)
Ulti ho gayi sab tatbirein (उलटी हो गई सब ततबीरें). Wo Jo gum mein tumne (वो जो गम में तुमने) with dance. Hamri atariyape awo sawariya (हमरी अटरीयापे आवो सावरीया ), a Dadra. E mohobbat tere anjam pe rona aya (ऐ मुहोब्बत तेरे अंजामपे रोना आया).
The stage arrangement was very interesting. Eight singers were seated on the left, six musicians on the right and center and front portion of the stage was used for narration & drama. This program was a demonstration of how to make effective use of stage. Despite so many persons on stage, the focus remained where it should with the help of light and sound.
When you present a thematic program that contains acting, music, dance, shero-shayri and narration it's very important to maintain right balance of all and each of the faculty has to be equally good. Malhaar achieved it.
Singing and singers, Music and musicians were good, especially Tabla, Sarangi and Harmonium. Dance and choreography was excellent but at times was short on synchronization. Direction (Dance, Rhythm and General) was very good. Sound and lighting was superb and contributes a lot in the success. Anchor did just that. He anchored the program and played small roles moving in and out of roles and anchoring seamlessly. He also had good command on Urdu. Script was the soul of this show. Begum Akhtar's life is not a drama, to keep the balance of story and music was a walk on right rope and was gracefully achieved.
All the artists were from UAE. It was demonstrated that there is no shortage of talent outside India.
Begum Akhtar's singing was liked by one and all but her speech (audio was played) was also musical. Actress playing Akhtari was not a singer, had she been a singer it would have created more impact. More use of shadows would have enhanced the effect. I would have enacted Akhtari's death in the show, knowing that she died while trying to achieve a high note that she was not able to dur to her advanced age.
Entertainment rating 8.75/10.
