Roysten Abel is a man of few words. No surprises though, his work speaks for him. A graduate of the National School of Drama, he is the director of many globally acclaimed productions, original works that have toured extensively around the world, mopping up awards and recognition.
Some of his most successful experiments, like 'The Manganiyar seduction', 'A Hundred Charmers' and 'The Kitchen', involved blending theatre with music. 'Manganiyar Classroom' is a continuation of his earlier work and involves 35 little boys from the community.
In the city for a performance for Akshaya Patra's 'Chords of Giving 2.0', Roysten talks to Rajitha Menon about his work and his fascination for the sea.
How would you describe your journey till now?
I am grateful for what I have done till now. I have been able to do what I want to and so, no complaints.
What gave you the idea to blend theatre and music?
Whenever I watched a theatre production, each time the music started, the mood would be elevated to another level. Then the music would stop, the acting would start and the magic would be lost. Because of that, I decided early on that I wanted to do a piece of theatre with just musicians.
What drew you to the Manganiyar music?
Their singing is extremely soulful, it touched the innermost places of my being. I had never experienced this kind of feeling with any live music before. It connected to my soul and I knew I had to do a production with them.
And what inspired you to involve the children for a production?
When I went to the homes of the Manganiyars around ten years ago, I met some brilliant kids there. When I met them again some time ago, they had lost that spark and that brilliance. Simply put, it was the harm done by the government schools and I felt it was important to tell their story too.
What is the hallmark of a good theatre production?
The production has to be a wholesome experience. It should engage every sense of the viewer and give you an experience that liberates your soul. Basically you shouldn't know what hit you but you should know that something hit you softly.
Any memorable incident..
Plenty. When Geoffrey Rush sent a hand-written note appreciating the 'Manganiyar Seduction'. That was a proud moment for all of us. Or the president of Malaysia coming to see the production twice.
People who inspire you?
People who do extraordinary work in their fields, irrespective of what these may be. And there are so many people like that out there — you feel 'Wow! people have achieved so much. There is so much more I can do'.
How do you spend your spare time?
I live near the sea so when I am not doing anything, I sit on the shore and admire the sea. Watching the sea is a favourite pastime.
Any advice to upcoming aspirants in your field?
I don't really think I am qualified enough for that. But if I had to say something, I will ask them to follow their dreams no matter what. If you have a dream, go
for it. Don't listen to anyone else.![]( "Roysten Abel")
Roysten Abel is a man of few words. No surprises though, his work speaks for him. A graduate of the National School of Drama, he is the director of many globally acclaimed productions, original works that have toured extensively around the world, mopping up awards and recognition.
Some of his most successful experiments, like 'The Manganiyar seduction’, 'A Hundred Charmers’ and 'The Kitchen’, involved blending theatre with music. 'Manganiyar Classroom’ is a continuation of his earlier work and involves 35 little boys from the community.
In the city for a performance for Akshaya Patra’s 'Chords of Giving 2.0’, Roysten talks to Rajitha Menon about his work and his fascination for the sea.
How would you describe your journey till now?
I am grateful for what I have done till now. I have been able to do what I want to and so, no complaints.
What gave you the idea to blend theatre and music?
Whenever I watched a theatre production, each time the music started, the mood would be elevated to another level. Then the music would stop, the acting would start and the magic would be lost. Because of that, I decided early on that I wanted to do a piece of theatre with just musicians.
What drew you to the Manganiyar music?
Their singing is extremely soulful, it touched the innermost places of my being. I had never experienced this kind of feeling with any live music before. It connected to my soul and I knew I had to do a production with them.
And what inspired you to involve the children for a production?
When I went to the homes of the Manganiyars around ten years ago, I met some brilliant kids there. When I met them again some time ago, they had lost that spark and that brilliance. Simply put, it was the harm done by the government schools and I felt it was important to tell their story too.
What is the hallmark of a good theatre production?
The production has to be a wholesome experience. It should engage every sense of the viewer and give you an experience that liberates your soul. Basically you shouldn’t know what hit you but you should know that something hit you softly.
Any memorable incident..
Plenty. When Geoffrey Rush sent a hand-written note appreciating the 'Manganiyar Seduction’. That was a proud moment for all of us. Or the president of Malaysia coming to see the production twice.
People who inspire you?
People who do extraordinary work in their fields, irrespective of what these may be. And there are so many people like that out there — you feel 'Wow! people have achieved so much. There is so much more I can do’.
How do you spend your spare time?
I live near the sea so when I am not doing anything, I sit on the shore and admire the sea. Watching the sea is a favourite pastime.
Any advice to upcoming aspirants in your field?
I don’t really think I am qualified enough for that. But if I had to say something, I will ask them to follow their dreams no matter what. If you have a dream, go
for it. Don’t listen to anyone else.
Some of his most successful experiments, like 'The Manganiyar seduction', 'A Hundred Charmers' and 'The Kitchen', involved blending theatre with music. 'Manganiyar Classroom' is a continuation of his earlier work and involves 35 little boys from the community.
In the city for a performance for Akshaya Patra's 'Chords of Giving 2.0', Roysten talks to Rajitha Menon about his work and his fascination for the sea.
How would you describe your journey till now?
I am grateful for what I have done till now. I have been able to do what I want to and so, no complaints.
What gave you the idea to blend theatre and music?
Whenever I watched a theatre production, each time the music started, the mood would be elevated to another level. Then the music would stop, the acting would start and the magic would be lost. Because of that, I decided early on that I wanted to do a piece of theatre with just musicians.
What drew you to the Manganiyar music?
Their singing is extremely soulful, it touched the innermost places of my being. I had never experienced this kind of feeling with any live music before. It connected to my soul and I knew I had to do a production with them.
And what inspired you to involve the children for a production?
When I went to the homes of the Manganiyars around ten years ago, I met some brilliant kids there. When I met them again some time ago, they had lost that spark and that brilliance. Simply put, it was the harm done by the government schools and I felt it was important to tell their story too.
What is the hallmark of a good theatre production?
The production has to be a wholesome experience. It should engage every sense of the viewer and give you an experience that liberates your soul. Basically you shouldn't know what hit you but you should know that something hit you softly.
Any memorable incident..
Plenty. When Geoffrey Rush sent a hand-written note appreciating the 'Manganiyar Seduction'. That was a proud moment for all of us. Or the president of Malaysia coming to see the production twice.
People who inspire you?
People who do extraordinary work in their fields, irrespective of what these may be. And there are so many people like that out there — you feel 'Wow! people have achieved so much. There is so much more I can do'.
How do you spend your spare time?
I live near the sea so when I am not doing anything, I sit on the shore and admire the sea. Watching the sea is a favourite pastime.
Any advice to upcoming aspirants in your field?
I don't really think I am qualified enough for that. But if I had to say something, I will ask them to follow their dreams no matter what. If you have a dream, go
for it. Don't listen to anyone else.
Roysten Abel is a man of few words. No surprises though, his work speaks for him. A graduate of the National School of Drama, he is the director of many globally acclaimed productions, original works that have toured extensively around the world, mopping up awards and recognition. Some of his most successful experiments, like 'The Manganiyar seduction’, 'A Hundred Charmers’ and 'The Kitchen’, involved blending theatre with music. 'Manganiyar Classroom’ is a continuation of his earlier work and involves 35 little boys from the community.
In the city for a performance for Akshaya Patra’s 'Chords of Giving 2.0’, Roysten talks to Rajitha Menon about his work and his fascination for the sea.
How would you describe your journey till now?
I am grateful for what I have done till now. I have been able to do what I want to and so, no complaints.
What gave you the idea to blend theatre and music?
Whenever I watched a theatre production, each time the music started, the mood would be elevated to another level. Then the music would stop, the acting would start and the magic would be lost. Because of that, I decided early on that I wanted to do a piece of theatre with just musicians.
What drew you to the Manganiyar music?
Their singing is extremely soulful, it touched the innermost places of my being. I had never experienced this kind of feeling with any live music before. It connected to my soul and I knew I had to do a production with them.
And what inspired you to involve the children for a production?
When I went to the homes of the Manganiyars around ten years ago, I met some brilliant kids there. When I met them again some time ago, they had lost that spark and that brilliance. Simply put, it was the harm done by the government schools and I felt it was important to tell their story too.
What is the hallmark of a good theatre production?
The production has to be a wholesome experience. It should engage every sense of the viewer and give you an experience that liberates your soul. Basically you shouldn’t know what hit you but you should know that something hit you softly.
Any memorable incident..
Plenty. When Geoffrey Rush sent a hand-written note appreciating the 'Manganiyar Seduction’. That was a proud moment for all of us. Or the president of Malaysia coming to see the production twice.
People who inspire you?
People who do extraordinary work in their fields, irrespective of what these may be. And there are so many people like that out there — you feel 'Wow! people have achieved so much. There is so much more I can do’.
How do you spend your spare time?
I live near the sea so when I am not doing anything, I sit on the shore and admire the sea. Watching the sea is a favourite pastime.
Any advice to upcoming aspirants in your field?
I don’t really think I am qualified enough for that. But if I had to say something, I will ask them to follow their dreams no matter what. If you have a dream, go
for it. Don’t listen to anyone else.