I don’t party regularly. So I have time to balance film and theatre: Gargee

Acting is the source of life for Gargee RoyChowdhury. “I perform and hence I live,” she says. Soon after the big release, Haami, the actress has become super-busy with her comeback on stage, Rangini. With Debojyoti Mishra composing the music, Ujjwal Chattopadhyay writing the script and Sudarshan Chakravorty helping with the choreography, Rangini is a huge production in the making. The actress will be back on stage after almost a decade and that too with the plan to take the play to a global stage. “Theatre is less glamorous only here in Kolkata. Go to Delhi, Mumbai, Bangalore or abroad — theatre has a different scene there. I want theatre to be a glamorous ballgame in Kolkata too,” she says. In a candid chat with us, the actress speaks about her comeback, her passion and her lukewarm response to Tolly friends. Read on…What made you come back on stage?I’ve never left theatre. I started theatre when the background music used to be played in spools. There was no concept of CD, let alone a pendrive. I only took a break for some time. Theatre is the constant love in my life. However, it needs time. I cannot do anything half-heartedly. There was a time when I could not give my 100% to theatre. So it took a backseat for a while. But it has always been there in my heart. Now, the moment I got a chance, I pounced on it. I act, hence I live. Not the other way round. I never dreamt of becoming a schoolteacher, an airhostess or anything else. I wanted to perform. And theatre is one of the main focuses in my performing life.You are one of the leading actresses in Tollywood. You enjoy glitz and glamour every moment. Theatre in Kolkata on the other hand is not only less glamorous; it also pays less than film. Why suddenly this will to shift?After so many days in this field, I understood one thing. You definitely need money. But beyond that, you need satisfaction. You need determination and commitment — not for anybody else, but for yourself. Theatre is less glamorous only in Kolkata. Go to Delhi, Mumbai, Bangalore or abroad — theatre has a different scene there. I’ve travelled a lot and I have seen how theatre can be an integral part of mainstream entertainment. Whenever I go abroad, I barely shop. I spend that money on watching performing arts. This is how I rejuvenate myself. Moreover, the wretched, de-glam bit of theatre is also fading out these days. Thespians like Bratyada (Basu) and others have shown that theatre is not an art form only for the pitifully struggling people with no glamour. He made it mainstream and glamorous. I am promoting this theatre just like we promote films.Your model of staging this theatre is quite futuristic…Yes, it is. This is my dream project. I have been thinking of doing this play for the past year. Finally I told Firdausul Hasan — my family friend. And he readily pitched in. The first show is by invitation only. The last time I was on stage was in 2011 in Antony Soudamini. Before that, in 2006, I acted in Angshumati, which was directed Ramaprasad Banik. Even then, I tried to put up big banners, did all I could to promote it well. Now, when I am back with this production, I kept thinking what all I could do for this play. I am planning to take it abroad. I have already spoken to people in Delhi, Mumbai, Bangalore, Dhaka, London, Scanthorpe and places in the US. Bratya Basu is our chief advisor. Debojyoti Mishra has composed the music, Sudarshan Chakravorty has done the choreography, Dev & Nil have designed the costumes. I knew I wouldn't be able to manage too many people right now and hence I’m doing a solo.How did you prepare yourself?When I was in Bohurupi, Kumarda (Roy) taught me what is labonyo in theatre. He sent me to Delhi for National Scholarship. I was mentored by Shabana Azmi, Mohan Agashe and Alyque Padamsee. I was told never to quit acting, and I did not. This started many years ago when I was in my school Patha Bhavan. Geeta Ghatak used to say, ‘Ei meye, gaan kor’. Chandidas Mann taught us tappa. I used to run away from those classes. But as I grew up, I could see the influence of that schooling. I have always been an over-enthusiast. I used to do spots. They used to pay `50 per shot. I did jatra just to understand the pulse of my state. That’s how I learnt to act and that is instilled in me. I saw Sukriti Lahari, Sumita Basu and others in Bohurupi. I learnt dedication from them. That’s my preparation. But in theatre, a tremendous amount of physical rigour is necessary.All the film stars you will see are trying to tone up. I am working harder because Nil, my designer, wants me to wear a bodysuit. I am working out. This is an hour-long play and currently I am working out for two hours so that I can take the rigour of that one hour easily.You are singing as well…Yes, music is coming through monologues. And there is an array of music. From kirtan to jazz to folk and tappa thumri — you will get everything.In film sets, you are a star. You get starry treatment there. But theatre is about self-help…I am extremely grounded, on or off the set. On film sets, I count on the opinions of the spot boys and the guys doing lights. What I cannot stand is the unprofessional attitude of some people. I don’t spare them. I also don’t take unnecessary arrogance. I respect people and I expect to be respected. For me, this is the golden rule that cannot be broken. And it is exactly the same in theatre as well. I was a small fry once upon a time in theatre. I used to sharpen kohl pencils and take care of the makeup boxes. It was a delicate but tiring job and I used to do that diligently. It is because of the grooming that I am extremely grounded and humble.Do you still have friends in theatre circuit? Do you have any friend in the film industry?Bratya is a family friend. Ujjwalda is a newfound friend. In the film industry, I only care about people who talk to me on my face. What is the point of thinking about people who are talking behind my back? I really don’t have that much time. Neither am I extremely active on social media, nor do I go out and party to maintain rapport with industry people. These activities are great but I somehow couldn’t do it. I’m fiercely private. I don’t interfere in anybody’s private life and expect the same for me. About the second part, I don’t have many close friends in the industry. I am friendly to all. I am their well-wisher and they are mine. But my real friends are my childhood friends.What are your future plans on stage?I am planning to do one production every year. I am going to take Bengali theatre to the global market.But theatre involves time and energy. How will you balance theatre and your film commitments?Just the way I’ve done so far. Till December I was busy with the shooting for Haami. After that, I have started Kuyasha Jokhon. And all the while I rehearsed for the play. Aami gaan tulechi, rehearsal diyechi, script niye boshechi and so on. As a matter of fact, I have plenty of time. I’ll tell you why. I don’t have to do household chores. I supervise. My husband (Ashok Dasgupta) is a workaholic and hence he respects my work time too. Also, I don’t go to nightclubs or party regularly. I don’t even talk a lot with my friends over telephone. So, I have ample time to work.