Sports India

Dhoni Dho Dalta Hai has been directed and written by Makrand Deshpande, if the term ‘written’ can apply to a play which keeps evolving with actor improvisations to such an extent that no two shows are the same. The play is performed in the GRIPS style of children’s theatre, where adults play children and recreate their world on stage.

The plot is simple – a washerman’s son idolises Dhoni and dreams of making it big as a cricketer. However he lacks the means and time, having to work to support his family. His father does not encourage his fancy and rich kids from the block mock him. But the guy is talented and soon wins hearts, acclaim and approval.

Makrand borrows characters from everyday life and exaggerates, even caricatures them to create a laugh riot for kids. There is plenty of action and comedy to keep the kids hooked. Adults who accompany them can have a great time too, provided they are not looking for intellectual stimulation and are willing to suspend disbelief. What Makrand builds on stage is a modern urban child’s perspective of the realities around him – footloose, fancy-free and imaginative.

Vijay Maurya, as the protagonist, is the highpoint of the play. His comic timing is impeccable and his characterisation as a child subtle but real. Teddy Maurya, playing his father, complements Vijay with an equally hilarious performance. Unfortunately, couple of actors confuse playing children with mimicking children, concentrating more on the walk and the talk rather than on what lies beneath, but overall the huge cast delivers with high energy performances.

The downside of improvisation is that the play wanders off the script a bit too often, in addition with becoming lengthy, but the cast have so much fun on stage, it’s hard not to overlook the slapstick and join in their fun. Kavi Bhansali’s lights and Shailendra Barve’s music make a celebratory spectacle.

This play goes a long way in proving Makrand’s versatility as a director. It lacks his usual surrealism, layering and abstraction of meaning and exploration of serious realities, but not his characteristic madness. That is not to say that the pandemonium is meaningless. While many children will leave the theatre euphorically inspired to follow their dreams, some might also heed the play’s compassionate message against social inequality which is subtly pervasive but never driven home.