Quadruple threat in symphony

CHENNAI: Theatre is an ephemeral art form. That’s the beauty of it. It’s also the tragedy of it. One minute it’s there, the next minute it’s gone. And it’s ever-changing.

Growing up in the small Canadian town of Penticton, to becoming the youngest south Asian woman to ever perform on Broadway at the age of 19, Krystal Kiran has navigated her way to Chennai’s popular KM Music Conservatory.

Krystal is a first generation Canadian born to immigrant parents from India. She is ecstatic to discover the theatre scene in India. And specifically to also help cultivate the musical theatre scene. Krystal says, “The talent in India exists in beautiful abundance. I am also really curious about delving more into Indian theatre practices that come from the Natyashastra. There is so much depth in Indian art forms that can enrich the musical theatre form, for example in the evoking of the rasas.”

The certification in Musical Theatre will give students first-hand insight and experiences in working collaboratively to bring a musical theatre production to life. “I know musicals have been performed in India in the past, and now with the opening of Nita Mukesh Ambani Cultural Centre, and bringing in international musical theatre tours, it’s exciting that the infrastructure and spaces for large scale musicals are being built,” highlights Krystal. There is a lot of alignment between musical theatre and Bollywood, the major difference being that musical theatre is entirely live on stage, where the actor is also the singer and dancer. She says, “There is no dubbing or miming. What you see and hear is what you get. Everything is live and in the moment, be it the orchestra, performers, audience and backstage.”

Krystal is of the opinion that the amalgamation of singing and dancing while storytelling is a profound spiritual experience, and the most effective tuning process of one’s whole being as an instrument. It’s the merging of body-mind-soul.

“Our body is our instrument. Bringing the body, mind, and soul together encourages us to practice radical presence that is rooted in very real classical and contemporary disciplines and training. When we are on a show schedule, we do eight shows a week, sometimes two shows a day,” Krystal explains. While there are the artistic elements of singing-acting-dancing, musical theatre performers are actually athletes for all intents and purposes.

She opines further, “Additionally, for young performers to feel empowered to excel at all three forms simultaneously is not only inspiring to witness, but it’s healing to experience if you are the one doing it. I hope everyone gets to feel it.”

A lot of the students at KMMC also play musical instruments, given that they are a music conservatory, which actually makes them quadruple threats!

One of Krystal’s preferred quotes is by the British director-choreographer Warren Carlyle. He said, “When you can no longer speak, you sing. When you can no longer sing, you dance.” “This is precisely the heart and core of every triple threat (actor-singer-dancer). And this is also the lifeblood of Bollywood,” says Krystal. Having already established that theatre is fugacious, still the biggest shift in the artform which Krystal points out is with the representation and inclusion, which she says is still a work in progress, but is happening

“In 2004, our company of Bombay Dreams made history as the first set of South Asian performers and creatives on Broadway, and yet of a cast of 40 performers, less than half of us were actually of South Asian heritage. Prior to that, it was next to impossible to find any South Asian representation on Broadway. Today, there are many more South Asians on Broadway, in both non-South Asian and South Asian shows,” and that makes Krystal’s heart sing. In terms of sound, placement of mics have changed to give shows and singers a more studio sound, which was not the case when she started. Krystal explains, “These days, there are a lot more immersive theatre experiences, where as the audience, you feel like you are part of the show. Natasha, Pierre & The Great Comet of 1812, Here Lies Love are examples of this.”

But is there a core learning of truly mastering the craft of being a good theatre artist?

“Always make the scene about your scene partner. Breathe and be present with them. Curiosity, generosity, honesty, active listening and instant forgiveness, especially towards yourself. It’s amazing what people can co-create both in life and on stage when these values are the foundation upon which we practice,” she highlights. Apart from Krystal, there will be various Broadway and international guest teachers who will contribute to course teachings and mentorships throughout the year at KMMC. This will give students the opportunity to engage with working professionals in the field and build their professional network.

We can’t master the art of theatre in a year, but we can spark a very real curiosity and appreciation for it by delving into a meaningful sense of play. “As for the program itself, we will look at a couple of classic musicals, deconstruct them and study them. Students will get sessions in the three disciplines while also working towards staging a full length musical towards the end of March while I will be directing and choreographing, along with our musical director at KMMC, Anupam Roy,” says Krystal.

The ‘Year End Musical’ is an annual KM day that acts as a showcase of everything the students have prepared for throughout the academic year. From instrumentals to recitals and choir performances, it’s always a grand affair. Added to that will be the musical theatre, a spectacle that students and staff love putting together that brings together singing, dancing, and acting. It’s like a taste of Broadway in the little corner at KMMC. The registration for the Musical Theatre programme will be open till the third week of August. For more details, or to apply, please visit the official website of KMMC at www.kmmc.in.