Sahir Ludhianvi’s iconic poem Woh Subah Kabhi To Aayegi spoke about revolting against oppression and creating a tomorrow shaped by equality. That hope forms the backbone of Wo Subah Hum Hi Se Aayegi, a play presented by Mahesh Bhatt that follows a young man navigating a changing India in the early 1990s.

While the filmmaker built an enduring career in movies, he has also produced several plays. What has it taught him? That theatre remains the country’s richest talent pool, even if it doesn’t receive the respect it deserves. 

On a call with mid-day, Bhatt expressed his disappointment as he said, “The problem is that theatre has become a springboard to films and television. There are people like Naseeruddin Shah and Makarand Deshpande for whom theatre is an end in itself, but for many others, it’s merely a means to an end. That’s unfortunate because this is where you discover writers and actors.”

The director insisted that the country’s attitude towards the art form needs to change. Drawing comparisons with the West, he noted, “A Broadway play gets as much respect and coverage as a film. We haven’t built that culture in India. There are successful plays here, but they don’t offer the recognition that films, streaming, or television do.”

Theatre also allows a censorship-free domain for artistes. Even as Bhatt agreed on the point, he noted that art forms will almost always face resistance. His films serve as an example.

“Arth [1982] was criticised, Zakhm [1998] had problems with the Censor Board. There has never been absolute freedom under any regime, irrespective of ideology. Every age has had this tug-of-war between the creative force and institutions that seek to regulate thought.”