CHENNAI: There is a price to be paid for my quality and I will not compromise on that,” opens up art director Mohan Babu. Easily the most sought-after man for Tamil stage plays, the doors of cinema have opened for him. He feels happy about the balancing act, but deep inside his heart, the joy of theatre and witnessing the audience’s live reaction cannot be compromised with the monetary aspect.
A creative pursuit
Armed with a degree in Fine Arts from the College of Arts and Craft, Mohan says the five-year stint was worth its weight in gold. His father late NA Radha, a carpenter by profession was part of Seva Stage founded by SV Sahasranamam. “When my father was on the job of setting up a stage, he used to give me the colours to paint which was the early spark to get an insight of the craft,” he recalls.
The world of advertising did interest Mohan where he dabbled for some time to learn the intricacies of print media. “But boredom enveloped me a little sooner than I bargained for. It was back to square one to get into the world of the stage,” he shares.
For Mohan, the moment of reckoning arrived when doors opened from two professional troupes masterminded by the late V Gopalakrishnan and Heron Ramaswamy. “Their plays had a lot of innovations where a decorative stage was a prime requisite to carry their story forward. Heron’s plays had a lot of fancy settings, rich costumes and characters embellished with the best of accessories. The early challenges in my career fetched good returns by way of calls from the increasing number of amateur troops. The diverse audience for different plays meant there was work for technicians with a mindboggling number of sabhas in vogue,” he elaborates.
Ingenuity is an art
Among his works, high on the list for Mohan is the railway station he erected for ‘Rail Sneham’. The high point was in setting up the tracks too to give authenticity. “The biggest compliment came from my friend in Southern Railway, who said my realistic work with the help of just wood came in for appreciation from the top officials of the department,” he says, going back in time.
Another effort which won Mohan unstinted praise was in Shraddha’s Dhanushkodi which had relentless rain pouring in, through the 90-minute play. “Water was brought in gallons and the effect had to be shown as four-tier rain. A tub made of iron was set in four places on the stage to absorb the pouring water but not visible to the audience. The water was connected to a motor with holes in the pipe. The idea was mine and the execution was spotless from the outsourced company,” he narrates.
There was apprehension about dialogues being heard in pouring rain. “But erecting a waterproof sound on the stage ensured that the audience had their fill while compliments poured in for me from all quarters. These are the challenges which art directors look forward to. We need to have the freedom to execute plans. Directors had total faith in my quality and timing. But like everyone, I had my moments of difficulty trying to make the production unit understand how tough it is to create a thing with very little input from the play,” he shares.
Constant innovation
Richness can come only with a price, Mohan says forthrightly. In the recent Kodai Nataka Vizha play Bakkunu Patikichu there was a scene in which one of the disciples of Guruji is enveloped by fire. “For the first time, a holography effect was tried in a stage play. Hologram is a photographic recording of a light field, rather than an image formed. It is defined as a method of producing a three-dimensional impression or photographic image of an object. The recording and the image it brings to life are each referred to as holograms,” he says.
The fire was created in green matte, he says. “The artiste had to get the timing right when the projector was set on the stage. It was all computer graphics when the fire was shown, minimising the risk factor. Not just the effort, there is the cost factor too when such innovations are tried on the stage. I guess, it is a lot easier to show that in movies where there is the scope for a reshoot. No such privileges on stage but that is what we needed to push ourselves. There is a special satisfaction enveloping a technician to receive the pat for a good show. Sometimes the accolades pour, a keepsake moment for a technician,” he emphasises.
Of will and willingness
Another play close to his heart is Kurinji where he erected a ship with three naval officers atop. “When the ship moved on the stage, everyone in the audience was moved. I have a team of eight assistants working for me. There was a need for them to push the ship with all their might. That was a defining moment in my career strides which had taken wings by then,” he rejoices.
A regular in the All Ladies Troupe of Bombay Gnanam, Mohan was the only choice when the famed stage troupe came up with plays for the YouTube channel. “Showing a lift in the backside of an apartment in Sashvadam, coming up with a three-dimensional set in Bodendra and setting up a cave in Bajagovindam won Mohan rave reviews in the media and lavish praise from the art directors of the tinsel world.
Now with the tag of Creative Head of Direction, in recognition of his long years of service, Mohan says the best lesson he has learned is not to take anything for granted. “Be prepared for any slips; my mind will warn me when on the job. I make it a point to spend a length of time before a show to apprise them on every aspect including where to stand. Not every stage can be as big as Narada Gana Sabha. Artistes, who have had their rehearsals in smaller arenas, are often put in discomfort. One must be prepared as if every rehearsal is the actual play. A prompter can help the artiste but art directors cannot dream of any external assistance. It is performance or perish. I accept my faults and promptly apologise. In the heat of the moment, some directors lose their cool. But one has to live with it as unless the show goes on, the stomach will remain half full,” says the wise one. Mohan believes in the demand and supply business, where the rights vest with the owners. “My job is to create and has no further part in that. There are godowns where expensive sets can be preserved,” he shares.
As we reach the end of the interview, Mohan insists that the story wouldn’t be complete without mentioning the two projects for which he worked with ‘Iyakkunar Siganar’ K Balachander. “A perfectionist, KB sir had a 30-day rehearsal and each day, he came in to have a look at my creation. Getting his nod for a job well done is akin to an Oscar. Those are the lingering moments,” Mohan winds up with an air of fulfilment, stemming from the long years in a world which is so close to his heart.