Sahir for our times: A play on Sahir Ludhianvi looks at his image as a successful lyricist

Malvika Kaul

It’s been over six months since ‘Main Pal Do Pal Ka Shayar Hoon’ — a play based on the life and times of poet and lyricist Sahir Ludhianvi — was first performed at Prithvi Theatre in Mumbai. The show has not stopped since, with performances in Delhi and Hyderabad too. It recently returned to Mumbai for another performance (April 20). Such is its popularity that enthusiasts have travelled from different cities to watch the poet’s life unfold as a young man, a doting son, a successful Hindi film lyricist, and a man of justice.

Sahir died 44 years ago (March 8, 1921- October 25, 1980), but to most, he is the timeless poet, as playback singer Mukesh beautifully rendered at the end of the film, ‘Kabhi Kabhie’ (1976): ‘Main har ik pal ka shayar hoon, har ik pal meri kahani hai.’ And the audiences have not remained mere spectators, becoming very much a part of his story, as they laugh, sing and even weep during each performance.

Director and lead actor Danish Husain, who has also worked in several films, says Sahir led an extraordinary life. “He could not have been more relevant than in the chaotic, strife-ridden times of today,” he says. His words were always for the downtrodden, the exploited and the weak. He wrote on the Bengal famine, mourned the Partition and emphasised tolerance and universal brotherhood. When Jawaharlal Nehru died, he famously wrote the nazm, ‘Jism ki maut koi maut nahiñ hoti hai, Jism mit jaane se insan nahiñ mar jaate’, calling citizens to strive for the idea of an India Nehru envisaged.

Danish was looking for something special for the 11th anniversary celebrations of his theatre company, the Hoshruba Repertory. Amita Talwar of Art for Causes (in Hyderabad) offered him a script on Sahir, written by lyricist and script writer Mir Ali Husain. The script was brilliant but appeared as a monologue. “I felt, given the complexity and enigma of the man Sahir was, it will be best to have the voices of his contemporaries and peers too.” Eventually, he blended Mir’s script with that of ‘Dastan-e-Sahir’, a script written by Himanshu Bajpai (well-known dastango) and ‘Main Pal Do Pal Ka Shayar Hoon’ was born.

The play looks beyond the popular image of Sahir as a successful lyricist who was coveted by some extraordinary women. Rather, it establishes his contribution to cinema, literature, and for setting benchmarks for aesthetics and ethical standards. The play’s title, Danish says, encapsulates Sahir’s philosophy — “the ephemerality of our collective memory” — and the transient nature of things. The song ‘Main pal do pal ka shayar hoon’ is strongly associated with Sahir. In people’s memory, this song is him.

Danish was nine when Sahir died. Like many others, he knew Sahir only through photographs and some audios. Screenwriter and lyricist Javed Akhtar shared some peculiarities about Sahir: ‘He spoke with a wry smile, and when nervous or emotional, would pull out a comb and brush his hair.’ Danish imagined Sahir sitting in his study, reminiscing, and giving an interview to an unseen crew. The crew is the audience.

The stage for the play is divided into two — Sahir’s study and a music recording studio from the 1970s. There is also a space upstage that eventually offers the background for the now iconic song from the film ‘Pyaasa’ (1957): ‘Ye duniya agar mil bhi jaye tou kya hai’. Shantanu Herlekar, a disciple of Shubha Mudgal, is one of the musician-actors on stage. Vocal artist Srijonee Bhattacharjee enchants as the female voice for most songs. There’s Siddharth Padiyar (percussion) and Donald Krist (guitar), who also double up as actors. The play’s impressive light-and-sound design by Shantanu Salve and Varrun Bangera, respectively, offers a rich visual treat to the audience.

Sahir’s mother Sardar Begum, probably the strongest influence in his life, never appears on stage. Danish says he used the effective device of a ghost character who never appears but is constantly mentioned. The poet had a difficult childhood; Sahir’s relations with his father were bitter. But his mother’s protective embrace and constant support made him feel indebted to her forever. “He often voiced in his poetry, writings, and even casual conversations with friends his love for her. In fact, his mother accompanied him more or less everywhere he went for his professional engagements.” Javed Akhtar told Danish that Sahir would often get up in the middle of a conversation and go to his mother’s bedroom to share details of their conversation. He sought her approval all the time. It appears that this very close relationship also constrained the growth of any lasting relationship with any other woman in Sahir’s life.

While researching about Sahir, Danish was introduced to several contradictions in the lyricist’s character. He was a suave poet, but could get very pedestrian in his speech after a few drinks. He could be magnanimous and compassionate, yet arrogant and brusque. He was humble and pompous together. What was consistent was his ability to “always punch above his station”.

As a writer himself, Danish says he has learnt to be truthful to the art of storytelling from writers like Manto and Ismat Chughtai. Poets like Faiz inspire him to display decency and grace under any circumstances. Sahir, on the other hand, teaches him not to compromise on his ideals, and always “speak truth to power”.

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