zur deutschen Version Author: Macro
Translation: Oliver Grytzmann
BERLIN – On Saturday, Improv Comedy Mumbai, assisted by the remaining festival ensemble, performed their second Bollywood Film – themed show during IMPRO 2013 in the almost sold out English Theatre.

Kaneez Surka and Mukul Chadda (Improv Comedy Mumbai) started out by involving the audience into a warm-up, resulting in short dance moves typical of Bollywood. Most of the people in the English Theatre also had already seen at least one Bollywood movie. Subsequently, the audience provided the actors with suggestions that were closely related to the genre; the plot was centered around a palace and unemployment, while “The Stolen Diaper” was chosen as the unusual title of the long format.

The cast of eleven actors divided itself cleverly into diverse groups with distinct functions. Thus the main conflict was already established within the first scene: Mike Fly, Mukul Chadda, Helena Zetterman (The Improvements, Stockholm), as well as the hero of the story Dhruv Lohumi (Improv Comedy Mumbai), represented the good guys. On the other side, Daylynn D’Souza (Improv Comedy Mumbai) played Mike Fly’s evil brother and laid claim to the palace. Assisting him was a goofy goon squad, consisting of Stephen Sim (CRUMBS, Winnipeg), Felipe Ortiz (PICNIC, Bogotá) and Matt Baram (National Theatre of the World, Toronto). A clear cut hierarchy like this was created in each group and also among these; thus, the resulting scenes came out very well, notwithstanding the vast amount of actors that played on the large-sized stage simultaneously. In effect, the ensemble built a gripping and dynamic scenery.

Musical Inserts and Dance Numbers

Musical inserts and dance numbers are the essential elements of each Bollywood movie. Therefore the actors formed a triangle and mimicked the movements of the person at the tip of the pyramid. The formation was dissolved after the first stanza and the players performed a short scene relevant to the lyrics. Afterwards, they returned to form the triangle again. Finally at a song’s end, the group found a vibrant, yet frozen, end position, typically with stretched out arms towards the middle.

Scenes with cinematic Dolly Shots

Another stylistic element of Bollywood within the show were scenes containing dolly shots, reminiscent of their use in movies. Thus the whole ensemble was on stage on these occasions, while the focus stayed with one plot line. The rhythm in form of an Indian beat was put forward by the musician Nigel Rajaratnam (Improv Comedy Mumbai). Oftentimes cloths and fabrics were whirled around to create a flood of epic images. This stage choreography was also apt for magnificent backgrounds like landscapes of trees, houses, cars and pedestrians that passed by the actors. Their zest spilled over to Nigel Rajaratnam, who spontaneously participated in scenes – giving Stephen Sim the opportunity to act enthusiastically as the new musician on the keyboard in the meantime. Particularly the play of Naomi Snieckus (National Theatre of the World) was also full of vim and vigor in passenger scenes, in which she was highly mindful and amusing.

Hovering Fabrics

Obviously, the core of the plot was the love between a couple that had to overcome diverse obstacles. Thus romantic feelings arose between Kaneez, a female dance performer, and Dhruv, who muddled through life as a pickpocket after the death of his parents. Delightful emotions were also displayed in the audience, while they witnessed scenes with pathos, an ensemble that hilariously mimicked blowing winds and made fabrics hovering in the air. The singing and dancing of the two lovers further heightened the mood. In all of this, the story arch wasn’t always coherent; however, the genre in general focuses more on embodiment than accuracy. The slightly awkward choice of the title – “The Stolen Diaper” – was involved into the plot boldly and the object helped the good guys achieve their victory at the end. In addition, the diaper was used as justification for a series of humorous ideas.
Highly exaggerated fighting scenes, another element of Bollywood, were introduced to the show after Kaneez betrayed her lover to protect her brother. Felipe and Dhruv demonstrated their artistic qualities doing cartwheels and fighting in a style reminiscent of Brazilian Capoeira. Further, the use of slow motion and aerial acrobatic through supporting actors led to slapstick comedy.
The concluding scene featured the two lovers finally kissing behind a veil of fabrics. The audience responded to this epic way of storytelling with frenetic applause.

The concluding scene featured the two lovers finally kissing behind a veil of fabrics. The audience responded to this epic way of storytelling with frenetic applause.

Exuberant Joy of Playing

Traditionally, the last scene of a Bollywood movie is the wedding. Thus the audience was called to stage after the curtain for this elaborate celebration and for a joint dance number at the end of this evening of exuberant zest. To witness such a distinct form of improv is a gift, and therefore I’d like to offer my heartfelt thanks to the actors, musicians, the Gorillas and the festival organizers – a pathos like this is justified on this occasion.