Bruce Guthrie: Shaping India’s theater scene

Bruce Guthrie, a renowned theatre director with a global footprint, has been instrumental in shaping the Indian theatre landscape since joining the National Centre for the Performing Arts (NCPA) as Head of Theatre & Film. With a career spanning decades and a portfolio of acclaimed productions, Guthrie brings a wealth of experience and a deep passion for the arts to his role.

In this exclusive interview, Guthrie delves into his journey, the NCPA’s vision for theatre and film, and the challenges and opportunities facing the Indian arts scene.

Daily Planet (DP): Could you tell us about your journey from directing to heading the Theatre & Film division at NCPA?

Bruce Guthrie (BG): Before I joined the NCPA five years ago, I had the privilege of working in various parts of the world, working with the Singapore Repertory Theatre, the Old Vic, the Brooklyn Academy of Music and the National Theatre in the UK.  I’ve also had the opportunity to direct and teach theatre at some leading performing arts institutions, including the Royal Welsh College of Music & Drama, Mountview, Guildford School of Acting, LAMDA and the Royal Academy of Music.

My journey to the NCPA began unexpectedly while working on a show in New York. The producer of that show, a consultant for the NCPA, asked if I would be interested in directing a play in Mumbai. I had always been fascinated by India—the culture, the people, the food—and I had long wanted to visit. So, when the opportunity arose, I immediately jumped at the chance.

The play in Mumbai was a great success, and I found myself deeply inspired by the vibrant artistic community here. The experience was incredibly fulfilling and opened my eyes to the potential and richness of theatre in India. That initial project led to more collaborations and, eventually, to my current role heading the Theatre & Film division at the NCPA. It’s been an incredible journey, and I’m grateful for every moment that has brought me to this point.

DP: What is NCPA’s vision for theatre and film, and how do you plan to achieve it?

BG: At the NCPA, our vision for theatre and film is to present, curate, and create the best productions that can travel across India and onto the international stage. We want our work to appeal to various audiences and demographics. When people come to the NCPA, whether they love or have mixed feelings about what they see, they should never be able to deny the quality and high standards of our performances. We strive to set a benchmark that ensures our audiences always experience the best.

To achieve this, we focus on celebrating the diversity of languages and cultures across India. For example, our Marathi Theatre Festival began during the pandemic and has been a great success, with audience numbers doubling each year. We’re proud to commission new works, like the four Marathi premieres this year. We are excited to expand this success with new initiatives like the Gujarati theatre festival, Basant, and the Hindi theatre festival, Anand, in the coming year.

We also collaborate with other organisations, such as the Mahindra Excellence in Theatre Awards (META), to bring performances from all over India to the NCPA. We aim to offer our audiences a rich variety of stories and experiences, whether a play from Assam, Kolkata, Kerala, or any other region. We want to provide a taste of theatre they might not otherwise encounter, showcasing the diversity of voices and narratives across the country.

Additionally, we are committed to producing shows that can tour nationally and internationally. This allows us to share the excellence of NCPA’s theatre with broader audiences and collaborate with other theatres across the country, fostering a vibrant and interconnected theatre community.

Our vision is ambitious, as it should be for a national institution in a country as vast and diverse as India. By focusing on quality, diversity, and collaboration, we can continue pushing the boundaries of what theatre and film can achieve, creating a space where the art and its audiences can thrive.

DP: How do you see the role of NCPA in nurturing young talent in theatre and film?

BG: At the NCPA, our role in nurturing young talent in theatre and film is fundamental, especially considering the recent challenges young people face. The pandemic disrupted their formative years, stripping them of crucial experiences and interactions. Engaging with theatre is more vital than ever as it offers them a way to reconnect, learn, and grow. Theatre isn’t just about performance; it’s about developing empathy, imagination, presence, and the ability to embody different characters. These experiences build essential skills that are valuable both on and off stage.

Our Connections initiative exemplifies this approach – it is a unique theatrical initiative that brings professional-level theatre experience directly to the youth of Mumbai. Over the past two years, we’ve seen incredible transformations in participant’s confidence and self-assuredness. This year is our third, and we have nearly 16 schools participating. We plan to expand to 40 schools in Year Four and 50 schools across five cities by Year Five. We aim for “Connections” to become a national movement, giving young people nationwide a platform to express themselves, learn new skills, and shape their futures.

My own experiences deeply influence my approach to drama school. I strive to be the mentor I wish I’d had—someone who listens, encourages, and helps students find their unique voice. With “Connections,” we treat young people not as children but as individuals with valuable perspectives and talents. There is a balance between exposing them to new experiences and ensuring they are not overwhelmed, but I firmly believe in their capacity for understanding and growth.

Theatre is a space for mutual learning, where young people have much to teach us. By challenging them and pushing them out of their comfort zones, we help them discover their potential and broaden their horizons. That’s the essence of our vision at the NCPA: to provide a nurturing platform where young talent can thrive and contribute meaningfully to the arts.

DP: How has the global theatre landscape evolved post-pandemic, and what are the key challenges and opportunities it presents?

BG: The global theatre landscape has undergone significant post-pandemic changes, presenting challenges and opportunities. One of the most immediate challenges is the increased cost of everything involved in theatre production. Prices have risen sharply from materials and flights to accommodation and logistics due to the pandemic and the current global political climate. This inflation affects everyone in the industry because while costs have increased, ticket prices cannot be raised proportionately, making it harder to balance budgets.

Another critical challenge is the type of work being created. As a reflection of society, the pandemic has deeply impacted theatre. Artists are now responding to a world that has shifted dramatically. Although we may not see an influx of plays specifically about the pandemic, the themes and perspectives in contemporary theatre are undoubtedly shaped by it. For instance, a recent production at our theatre, Love and Information, featured scenes that would have seemed strange before 2020 but now resonate differently with audiences who have lived through the pandemic. This shift in perspective changes how stories are told and received.

On the flip side, the pandemic has also reignited a hunger for communal experiences. Audiences are eager to return to theatres, share in live performances, and feel the collective energy that only theatre can provide. Our attendance levels have bounced back and, in some cases, even surpassed pre-pandemic numbers, demonstrating a renewed appreciation for live arts. This desire for connection presents a unique opportunity to engage more deeply with audiences and attract new ones.

Looking forward, one of the significant opportunities lies in collaboration. As the world becomes more interconnected, there’s a greater chance for cross-cultural exchanges and co-productions. We are keen to take Indian arts and culture to the global stage by importing international works and showcasing what India has to offer. This involves carefully considering how we collaborate with other arts organisations worldwide to ensure our contributions are of the highest quality.

In summary, while the post-pandemic landscape presents several challenges, it also opens exciting opportunities for innovation, collaboration, and a deeper connection with audiences worldwide.

DP: How does the Indian theatre scene compare to global standards?

BG: The global theatre landscape has undergone significant post-pandemic changes, presenting challenges and opportunities. One of the most immediate challenges is the increased cost of everything involved in theatre production. Prices have risen sharply from materials and flights to accommodation and logistics due to the pandemic and the current global political climate. This inflation affects everyone in the industry because while costs have increased, ticket prices cannot be raised proportionately, making it harder to balance budgets.

Another key challenge is the type of work being created. As a reflection of society, the pandemic has deeply impacted theatre. Artists are now responding to a world that has shifted dramatically. Although we may not see an influx of plays specifically about the pandemic, the themes and perspectives in contemporary theatre are undoubtedly shaped by it. For instance, a recent production at our theatre, Love and Information, featured scenes that would have seemed strange before 2020 but now resonate differently with audiences who have lived through the pandemic. This shift in perspective changes how stories are told and received.

On the flip side, the pandemic has also reignited a hunger for communal experiences. Audiences are eager to return to theatres, share in live performances, and feel the collective energy that only theatre can provide. Our attendance levels have bounced back and, in some cases, even surpassed pre-pandemic numbers, demonstrating a renewed appreciation for live arts. This desire for connection presents a unique opportunity to engage more deeply with audiences and attract new ones.

Looking forward, one of the significant opportunities lies in collaboration. As the world becomes more interconnected, there’s a greater chance for cross-cultural exchanges and co-productions. We are keen to take Indian arts and culture to the global stage by importing international works and showcasing what India has to offer. This involves carefully considering how we collaborate with other arts organisations worldwide to ensure our contributions are of the highest quality.

DP: What are the key challenges and opportunities you see for the growth of theatre and film in India?

BG: One of India’s most significant challenges for theatre and film is the perception of their value. There’s a common misconception that theatre and live performances should be inexpensive, undermining the real costs of producing high-quality art. For example, people often don’t hesitate to spend 800 rupees on a glass of wine yet baulk at paying 400 rupees for a theatre ticket. This disparity reflects a deeper issue: a lack of appreciation for our local talent and the work they put into their craft. We tend to place a higher value on international performances, which is disheartening because the growth of our arts scene depends on our willingness to support and celebrate our artists. To foster a vibrant cultural community, we need to start valuing these experiences more in terms of financial support and how we speak about them.

While this challenge persists, it also presents an opportunity to redefine what makes theatre unique in the age of digital entertainment. Unlike OTT platforms, which offer content that can be consumed at any time, theatre provides a distinct, irreplaceable experience—it’s about being in the moment, engaging with a live performance, and sharing that experience with others. The pandemic, in a way, has reminded us of the value of these communal experiences, making many realise just how special it is to sit in a theatre, watch a performance unfold, and interact with the artistry happening in front of them. If we leverage this renewed appreciation, we can encourage more people to return to theatres, thus revitalizing the industry.

Furthermore, India’s rich cultural heritage and storytelling tradition offer immense growth opportunities. As a nation of artists and innovators, we have a deep well of mythology, history, and contemporary narratives that can captivate audiences locally and globally. This is where government support becomes crucial. By recognizing the arts as a vital component of our economy and cultural identity and providing the necessary funding and infrastructure, we can elevate our arts scene to new heights. The arts and culture of India are not just entertainment—they are a powerful calling card to the world, showcasing the depth and diversity of our society. With the right support, we can ensure that our unique stories continue to thrive and resonate globally.

DP: Can you elaborate on NCPA’s initiatives to promote regional theatre and languages?

BG: A big part of why I came to India was my interest in the culture, stories, and work here. So why wouldn’t we celebrate that at the National Centre for the Performing Arts?

We showcased 11 languages at the NCPA last year, with Hindi being the most frequently performed. We also have a theatre festival this December 2024 in collaboration with META and the Mahindra Excellence Theatre Awards. Our goal with that is to bring shows from around the country to the NCPA and give our audiences an experience and a flavor of something that they wouldn’t usually get, with plays from different parts of the country, whether it be from Assam, Kolkata, Kerala, and more.

This year also marks the fourth edition of our Marathi Theatre Festival, which we had started in the pandemic. We are commissioning new work in Marathi and have already had four successful premieres of Marathi plays at the festival this year. The audience has doubled yearly for that, which has been great. We hope to replicate that success in Gujarati with Basant, a Gujarati theatre festival, in March next year. And then, in October of next year, we will develop a Hindi theatre festival called Anand.

DP: What are some of the most challenging and rewarding productions you’ve worked on at NCPA?

BG: Each production at NCPA presents unique challenges and rewards as we strive to avoid a “cookie-cutter” approach and ensure every show has its distinct personality. For instance, “Love and Information” posed significant challenges due to its unconventional format and the uncertainty of audience reception. However, we had complete faith in the creative team, knowing that the production quality would be undeniable regardless of personal taste.

After a long hiatus, the Pratibimb Festival was a significant highlight, bringing Marathi theatre back to NCPA. This initiative continues to grow and thrive, reaffirming our commitment to featuring more Marathi and Hindi theatre. Another standout project has been Connections India. It has been incredibly rewarding to shape our version of this festival, which uniquely connects schools, organizations, and communities. The success of the first two years is promising, and we anticipate even greater achievements in the third year.

Producing “Every Good Boy Deserves Favour” was another remarkable experience, particularly because it involved staging a large-scale production with a 45-piece orchestra. The collaboration with an exceptional creative team resulted in a critically acclaimed show. Additionally, taking Gentleman’s Club to the Soho Theatre in the UK has been a personal aspiration since I joined NCPA, and we are thrilled to achieve this milestone in October.

Each of these productions has been challenging, but they have also been incredibly rewarding, reflecting our dedication to innovative and high-quality theatre at NCPA.

DP: How do you address the challenges of balancing commercial viability with artistic integrity in theatre productions?

BG: I don’t believe being commercial or popular is a negative thing. If something is of high quality, it can become commercially successful. However, there’s a balance to strike in programming. You need a mix of popular and niche offerings, as the revenue from mainstream shows often funds more experimental productions. The real success in theatre comes when a show of undeniable quality also captures the public’s imagination. For example, who would have thought a musical based on a Victor Hugo novel would become the world’s longest-running show or that “Hamilton,” a story about American independence and a lesser-known founding father, would become a modern icon of musical theatre?

One of the challenges is the length of show runs. Some organizations have proven there’s an audience for longer runs. Still, many shows only have two or three performances, which makes it hard for artists to settle into roles and deliver consistent performances. This also discourages the creation of complex sets, which, while not always necessary, can significantly enhance a production. Effective lighting, sound, and spatial balance require more time than the three or four hours allotted for setup.

A show’s success often depends on having a strong creative team that can refine and improve it daily, leading to a better experience for artists and audiences. There are five critical elements for a successful show: a talented writer, a skilled director, a star actor, a compelling title, and an intangible “X factor.” Four out of these five usually ensure success, while three out of five can be a gamble.

Another challenge is the fixation on sold-out shows. While a full house is exciting, focusing on delivering a great show and providing an exceptional audience experience is more important. It’s about evolution, not revolution—if you want production to succeed and endure, you must bring everyone along. As the saying goes, a rising tide should lift all boats.

DP: How do you envision the future of theatre and film in India?

BG: I envision creating opportunities that allow people to thrive. I think it would be amazing if more work could go up, with more travel and support for groups to do that—not just groups but individual productions and production houses. It would be great if there were more support for more work to go out internationally. That’s what we’re working towards.

But in terms of the actual work itself, you want innovation. You want to be inspired by the world, by people’s work, by somebody else who comes along and can imagine things differently, or to create something entirely new. And so, to predict any of that is, I have yet to learn.

I do think that if we can shift perceptions and shift the way that people value the arts if we can shift even just slightly the way that we value ourselves within the industry, then suddenly things start to get very interesting.

DP: What do you hope to achieve in the next five years at NCPA?

BG: Survival. What I want to achieve is celebrating a variety of cultures and languages through our festivals and becoming a place where new work is a regular occurrence. We want to support writers, actors, and directors in the creation of different works and help them tour nationwide regularly. We want to work internationally regularly as well, even if that’s once or twice a year. We’ve got to start somewhere.