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Theatre Review: WOH...WOH JO PYAAR HOTA HAI [India]

Akhil meets Sujata and is discussing about his job and marriage.


Cluttered sets are chaotic, but some directors have the knack to show the mood well with the details of the set. Mitesh Sharma turned to be one of those directors. With a deeply emotional, romance of a story, Ipsit Nayak was chatting with his love Sujata in the opening scene. Totally in the loving mood and relaxed, Ipsit had the co-actors running to his charms.

WOH ...WOH JO PYAAR HOTA HAI is the story about Akhil, Sujata and Gita. Sujata is keen on marrying Akhil; to the point of getting him a job and a flat. She won't lose anyone in her life or make someone a part of her life; whichever is earlier. Gita is the smaller sister of Sujata and she also likes Akhil but does not want to marry him. She feels marriage would harm their love.

In this drama of getting married and loving one another; the play takes you to many angles of attraction and love!

What's good about slow-paced stories is that they just let you roll into the story. You don't have a choice; you are a part of the folds of the story. It's quite possible that you are trying to unfold from the romantic-drama; but clever directors don't let you do that. They also work with the audience during rehearsals as with the actors.

Geeta tells Akhil that her sister wants to get together with him soon.


I remember watching one of David Ive's work, right here at Gyan Adaab Centre. I really don't think slowness is a good enough tool to convey deep love or flirting. Even with high paced action romance can be beautifully conveyed. Here the director chose to take the tried and tested method which worked for him. As the depth of the plot underlined the story, things got dramatic, emotional, shallow; yet engaging.

Ipsit played a confident, chum ; rummaging through a plethora of emotions; discussing everyday-deep-emotions with the knowledge of a TAJ Mahal tour guide. Scripts cut your emotional knowledge with precision and excitement which teaches the audience about their own emotions. Deeper an actor delves into their emotions, they also deluge the audience-environment-venue with the same level of emotional color. It's pure growing as a human being. I did feel that the monotonous talk of the actors; because they are everyday banter, but interesting material for stage succeeded in detailing everyday life.

NAWAB KI AKAAL, GADHE KI SHAKAL; which I liked. In NAWAB KI AKAAL, GADHE KI SHAKAL he played a villager.At times, it also felt that Ipsit is taking the actor's cloak too casually. Acting is presence, awareness, being there, breathing the character, breaking the character, being authentic, a thousand experiments of permuation and combination! He was some of them but not all of them. So, he's a growing actor. But, here you find him in a different after than his previous play.

Geeta is also speaking to Sumit about her sister.


Sumit in the play played by Varun Agarwal, quite an authentic character. His pauses, delivery and the look of an emotionally-asking, hurt, friendly-character was nice, charming and fresh. The play had moments when freshness was poured in with dialogues, movements, laughter.

Sujata is planning her next move.


Also, boredom was poured in. As I have said earlier, the piece was an amazingly slow execution of a love story ; which takes both candor and understanding of emotions. So, the piece has more potentiality to grow, so do the actors.

Coming back to Varun, there is a mark of authenticity about his character which he should exploit more. He didn't have as much of a role as other actors; but the impact was there. So, more definite, choosing of roles in future plays would give him a more solid grip on the art of acting and this one. Varun has also grown as an actor from his work in play like NAWAB KI AKAL GADHE KI SHAKAAL. Probably his training at Adi Shakti Theatre and film shoots have made him a more confident actor.

Gita and Dhiru


Gita was a convincing elder sister played by Paarul Deshpande. The dominance and flirting was palpable in Gita's moves. As mentioned earlier, the slow paced piece had her seated or standing; with poise and grace of strong femininity. Standing tall Gita had presence as the one opposite the protagonist Akhil. Sujata was the smaller sister played by Sushmita Patil. There was a subtle age difference between them.

Both Gita and Sujata enjoyed connect with the audience. Sujata's character seemed more cleverly dished out and trying to stay in good terms with both Akhil and her elder sister. She was romantically-cutely-cunning. A differently carved character; both sketched in their own space.

Mangesh is a buffer in relationships, a buffer in society.


Dhiru played by Mangesh added his presence too, a noble friend with his own intent ! He sports that focused look which is hard to miss on stage. His character was more like a buffer, a buffer in relationships, a buffer in society, an amiable buffer, a neat buffer. A character who is still trying to fit in situations inspite of being capable enough. Mangesh did a decent enough job out of this. A piece of intensity building before marriage, WOH WOH JO PYAAR HOTA HAI is a growing drama!

Cast: Ipsit Nayak, Mangesh, Paarul Deshpande, Sushmita Patil & Varun

Direction: Mitesh Sharma

Script: Krishna Baldev Vaid

Theatre Group: Kashish Dramatics


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