The Culinary Lounge in Jubilee Hills turned into a slice of everyday life with Miya Biwi Ke Mantakha, a Hyderabadi adaptation of Yogesh Soman’s Marathi play, translated by the late Saurabh Gharipurikar and directed by Taher Ali Baig. The evening opened with a cheeky musical prelude led by Nikhil: “Jab jab miya biwi mai takrar hota hai, miya bahar sota hai, biwi andar soti hai.”
The play unfolded into a world of relatable domestic squabbles — from arguments over daily groceries to debates about buying gold or saving for their daughters’ marriages. At its core is a husband who takes life as it comes and a wife balancing responsibilities with dreams. Their foolish yet tender exchanges fuelled the humour and heart of the evening.
For lead actor Rahul Reddy, the role felt deeply personal. “Saurabhji wrote the character keeping me in mind,” he shared, adding, “I’ve always been someone who doesn’t overthink life and that’s exactly how my character is.” With over 15 years in theatre, Rahul calls comedy the most demanding form. “It’s all about timing, authenticity, and the energy between actors. Every punchline and pause has to feel natural,” he says.
Rahul drew inspiration from people around him, “These are characters I grew up with — friends, family, neighbours. Their mannerisms shaped my performance.” He believes comedy’s strength lies in its subtlety, “It lets you express something powerful without hurting anyone. Behind every laugh is an honest emotion.”
Opposite him, Drishika Chander plays the ambitious wife. “She’s uneducated but a dreamer. I didn’t want to judge her — just understand her as a woman, homemaker, and someone with the audacity to dream,” she said. Observing real people informed her portrayal. “I’d recall someone with a similar struggle, and that guided how I played her,” she added.
Her chemistry with Rahul was vital. “Comedy thrives on timing and trust. Knowing Rahul and Taher from school helped build that comfort,” Drishika shared. The character’s journey also resonated personally. “I relate to her desire to step out and create something for herself,” she added.
Known for lavish productions, director Taher Ali Baig opted for simplicity here. “I wanted the focus on performance, dialogue, and nativity. We used minimal props — just a bench, plants, and vegetables — to create an authentic Hyderabadi setting,” he explained.
Humour, he added, reflects real life. “Every home has playful bickering. That’s what mantakha is — not arguments, but affectionate banter beneath which lie dreams and struggles,” Taher added.
Taher also stressed the need for better theatre infrastructure in Hyderabad. “We need dedicated spaces of 300–500 seats in Jubilee Hills or Banjara Hills. The talent exists, but the ecosystem must grow,” he said.
What makes Miya Biwi Ke Mantakha stand out is its ability to transform ordinary conversations into theatre that is hilarious yet deeply moving. It captures middle-class realities — the push and pull between dreams and practicality — and shows how love and humour hold it all together.
As the curtain fell, laughter gave way to emotion. The applause was thunderous, and both the cast and director were visibly moved, a fitting tribute to Saurabh Gharipurikar’s translation, which brought this Hyderabadi story to life.