Q&A with Dooja Ghar Writers Andy Kalirai & Paneet Singh
The centuries-old story of Mirza-Sahiban gets a fresh & modern interpretation in Dooja Ghar (The Other House). Dive deep into the groundbreaking, site-specific work with playwrights Andy Kalirai (who also stars in the performance) and Paneet Singh on their inspiration behind the production.
Dooja Ghar (The Other House) is on stage Aug 5-14 (6 shows only!) amidst the scenic, immersive backdrop of the Campbell Valley Red Barn in Langley. Learn more and buy tickets here.
What inspired you to create a new interpretation of Mirza-Sahiban?
Andy:
In the original story Sahiban and Mirza didn’t really have a chance to talk to each other and explain her reasoning about why she broke the arrows and I thought that conversation would be interesting. To understand how sometimes we can love someone but still hurt them even when we do the “right” thing. And from there I started to think about what the story could mean today since it is still so relevant when it comes to what love is. In modern Indian culture we still cling to old beliefs of what love is even though NOBODY knows what love is. It’s just a feeling that has a million different reasonings and meanings attached to it. And I really wanted to explore the concept of unconditional vs conditional love, destiny, culture, freedom - these are the core of Mirza Sahiban and we are still struggling with these as humans on planet Earth.
Paneet:
The credit of this goes to Andy Kalirai, whose brainchild this really is. He had a simple question: in the original Mirza-Sahiban, when Sahiban commits the "ultimate betrayal" of the leading man Mirza, they never have a chance to talk about it before Mirza meets his doom. If that conversation took place, what would it look like? Would that be our chance to hear Sahiban's side of the story? That exploration is what inspired this diasporic reimagining.
What are the modern similarities you see in the centuries old story?
Andy:
The modern similarities are that: The traditional Mirza would be what we call an alpha male today and that is still a concept many young men aspire to be even though it’s not the only way to be a man and maybe not even the most healthy or loving (but that’s a separate issue). Also, people today are still breaking up with their partners because of their parent’s disapproval causing people to take drastic steps to be together or to get revenge - that old tribal mentality still hasn’t disappeared and marriage is still a highly regulated thing in Indian culture. People today still have to hide their relationship, run away to be together due to religious or other differences, and the main point I would say is the common quote of “love is not enough” - Just because you love someone doesn’t mean the relationship will work or is worth having even. Values, purpose, and many other things can make it better to leave each other. And love is still something that pushes people to do crazy things. I don’t think that will ever change.
Paneet:
Thematically, there's a lot in this story that's timeless. What attracts me to it most is the question of human love and its conditionality, as well as the perceived dichotomy between honouring one's self versus honouring the collective. From a sociopolitical perspective the subject of a young woman's agency against patriarchal structures becomes especially relevant when put into a local South Asian context.
How did creating the performance in a site-specific setting allow you to expand creatively?
Andy:
Having it site specific allowed us to enter into a different relationship with the audience. They can interact with the show on a more sensory level and not in an air conditioned, dark theatre. We can use the space to help us take people on a journey from the moment they step on the property.
Paneet:
We are really free flowing in this show between the folk Naqal style of Punjabi theatre and contemporary western theatre, while set against the backdrop of "the everyday Punjabi's" Surrey, BC. So the setting of a farm in the Lower Mainland immediately heightens anything that we've written because of the energy and relevance of the space. It can capture the vibe of being in Surrey, while feeling like you're in a village in Punjab where this traveling theatre troupe set up for the night, and will be moving on from after their performance.
How will this performance differ from past presentations of Mirza-Sahiban?
Andy:
It will differ A LOT. I’ve only ever seen Mirza Sahiban done with the traditional characters in the 17th century. And they are always shown as the stereotypical, mythological figures. Mirza, the brave warrior who will stop at nothing to save Sahiban, and Sahiban, the beautiful girl who is willing to leave it all behind for love.
Ours will show a more “real” and grounded Mirza and Sahiban. People who have flaws, insecurities, and change over time in big ways. We also have moments where the audience can really consider what it means to them to see this story and how it relates to their life and just how toxic Indian culture can be. We don’t just talk about Mirza and Sahiban but also speak on the culture that created the problem they face in the first place.
Paneet:
Beyond the setting and time, the show is really unique in its style and scope of perspective. One of the important things for us when we were writing was humanizing these aggrandized characters so they feel like people that could have actually existed. Once we grounded the characters in a familiar reality and gave them a relatable proximity to the audience's reality, it really allowed us to explore stylistically and have fun with the form, and I think that will come through in the show. It's a serious show that really doesn't take itself that seriously.
