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“Viewership has dipped due to several factors, including TV. Char Diwas Premache (Four Days of Love) by Sudhir Bhat’s Suyog, All the Best by the late Mohan Wagh and Sahi Re Sahi (All’s Well) by Lata Narwekar are among them.Īrtist-turned-producer Sunil Barve believes that viewers love live entertainment. Some plays - although not many - have run for a thousand shows.
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But there is another side of the picture too. Recently, when the play was staged in Thane, an angry crowd took to the streets. After a brief resurrection nine years later, the state government again banned the play. In 1989, Pradeep Dalvi was denied permission to stage Mee Nathuram Godse Boltoy (I Am Nathuram Godse Speaking). There is also worry over the role of the censor - for instance, political parties cannot be named. Not many playwrights or producers want to take on controversial topics. Plays such as Bhaiya Hatpay Pasri (I Plead), Aaytya Var Koyta (Stop the Opportunist)and Marathi Manse (The Marathi People) dealt with and praised Marathi-speaking people. One play, He Thamble Pahije (This Must Stop), produced by Rajesh Shirke, raised the issue of migrant workers and taxi permits. Calling on Marathi pride, some producers manufacture a hit by playing on their audience’s fear of immigrants.
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Humour is the mainstay, and plays revolve around Marathi identity, middle-class identity and the conflict between generations. Marathi plays now focus less often on socio-political issues. Playwrights and artists today are struggling to bring out new forms and presentations.