From Tears to Tussle

Inside the ruthless succession war for the soul of the NCP Mumbai: In a significant revelation that sheds light on the internal fractures of Maharashtra’s most prominent political dynasty, a senior Nationalist Congress Party (NCP) leader has disclosed that a merger between the two rival factions was nearly finalised following the tragic death of Ajit Pawar, only to be derailed by a bitter battle for leadership. Speaking on the condition of anonymity, the leader revealed that while the state...

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Inside the ruthless succession war for the soul of the NCP Mumbai: In a significant revelation that sheds light on the internal fractures of Maharashtra’s most prominent political dynasty, a senior Nationalist Congress Party (NCP) leader has disclosed that a merger between the two rival factions was nearly finalised following the tragic death of Ajit Pawar, only to be derailed by a bitter battle for leadership. Speaking on the condition of anonymity, the leader revealed that while the state mourned the loss of the Deputy Chief Minister in a plane crash two months ago, a high-stakes power struggle was unfolding behind the scenes, ultimately leading to the “hasty” swearing-in of Sunetra Pawar as his successor. The senior leader’s comments come at a time when the Pawar family and NCP workers have been sharing deeply emotional tributes to mark two months since the January 28 disaster. However, beneath the public display of grief lies a complex story of shifting allegiances. According to the leader, the period immediately following the crash was “extremely fluid”. At the time, Ajit Pawar’s sudden absence had created a vacuum that many believed would naturally be filled by the senior leadership of the NCP-SP faction, including Sharad Pawar and Supriya Sule. “Indeed, there were talks of a merger, and Dada (Ajit Pawar) himself had been involved in those negotiations before the accident,” the leader remarked. However, the dynamics changed rapidly when the Ajit Pawar faction realized that their identity and future could be swallowed whole if they did not act quickly to secure their own leadership. This realization reportedly led to the decision to install Sunetra Pawar as the Deputy Chief Minister just three days after the tragedy. Immediate Stability The move was intended to provide immediate stability and ensure that the leadership remained within Ajit Pawar’s immediate family. A particularly poignant detail revealed by the senior leader was the absence of the Sharad Pawar family at Sunetra Pawar’s swearing-in ceremony at Lok Bhavan on January 31. Despite the best efforts of Ajit’s elder son, Parth Pawar, who was reportedly seen “pursuing and trying to convince” his relatives to attend as a show of family unity, Sharad Pawar, Supriya Sule, and Rohit Pawar remained conspicuous by their absence. “That was very unfortunate and came as a shock to many of us who have spent decades with the family,” the leader stated, adding that this absence signaled the end of the brief window for an easy merger. This political friction stands in stark contrast to the heart-wrenching scenes witnessed during the last rites in Baramati. At the funeral, Supriya Sule was seen breaking down in uncontrollable tears, holding Sunetra Pawar’s hand in a display of what many thought was a permanent reconciliation. Rohit Pawar had also shared a viral social media post expressing his inability to even use the prefix “late” for his uncle, stating that he lacked the courage to see Ajit Pawar’s name written that way and that “Dada” would always live on through his work. However, as the senior leader noted, the narrative shifted dramatically once the Sharad Pawar faction realized that the leadership of the NCP would not be handed to them on a platter. What began as talk of family unity and political merger soon pivoted to a darker narrative. Rohit Pawar recently filed a “Zero FIR” in Bengaluru, alleging a “larger criminal conspiracy” behind the plane crash, citing technical lapses and suspicious flight data. This move is seen by many in the NCP as a strategic shift to delegitimize the current leadership and keep the pressure on the Mahayuti government. Undisputed Leader For now, the senior leader remains firm: Sunetra Pawar is the undisputed leader of the NCP, and any future talks of a merger must be conducted on her terms. “If anyone seeks a merger now, they will have to talk to her. She is our leader, and she will take the final call,” the leader concluded, indicating that while the doors for dialogue are not entirely closed, the “natural” transition the other faction expected has been firmly blocked by the rise of Maharashtra’s first woman Deputy Chief Minister. Moving tribute to Ajit Pawar On Saturday, marking exactly two months since the tragic passing of Deputy Chief Minister Ajit Pawar in a plane crash, his family members shared moving tributes reflecting on his legacy and the void left by his absence. Sunetra Pawar, who recently stepped into the role of Deputy Chief Minister to carry forward her husband’s work, shared a deeply emotional message on social media. She expressed that while two months have passed, the pain of the loss remains as fresh as the day of the accident. Describing Ajit Pawar as her constant “guiding beacon,” she noted that the passage of time has not diminished his presence in her thoughts. She reaffirmed her solemn commitment to fulfilling his unfulfilled dreams for the development of Maharashtra, particularly for farmers and the youth, while drawing strength from his disciplined and dedicated style of functioning to navigate her new responsibilities. NCP (SP) leader Supriya Sule paid tribute to her “Dada” by emphasising the need for truth and justice. In her reflections, she described him as a pillar of the family whose sudden departure has left everyone devastated. Beyond the personal grief, she utilized the occasion to raise significant concerns in Parliament regarding the transparency of the ongoing investigation into the Baramati plane crash. She asserted that the most fitting tribute to a leader of his stature would be a time-bound and thorough inquiry into the circumstances of the accident. Her tribute balanced the sorrow of a sister with a firm demand for accountability to ensure such a tragedy never recurs. Rohit Pawar’s tribute was characterised by a mix of profound grief and a fierce determination to seek answers. He recalled the personal guidance he received from his uncle, reminiscing about small yet significant moments and the weight of his “authoritative voice” that once commanded the state’s administration. On this two-month mark, he remained vocal about his suspicions surrounding the technical safety of the aircraft, describing the loss as an “irreparable blow” to the state’s political landscape. He vowed to keep his uncle’s memory alive not just through words, but by relentlessly pursuing the “Zero FIR” investigation to ensure that the facts behind the crash are brought to light.

Chekhov’s ‘Uncle Vanya’ come to Kolkata

Shoma A. Chatterji
4 hours ago
3 min read

Anton Chekov is one of the most universally recognized playwrights in world theatre. ‘Bhanu’ is the Bengali adaptation and contemporisation of the original play first staged in 1899, two years after the Russian playwright’s play was published. The first staging of the play was directed by none other than Konstantin Stanislavky noted for founding the internal and emotional involvement of actors in the characters they were cast in.

Many performances of ‘Uncle Vanya’ have been staged over the past in Broadway, West End, Sydney Theatre Company and other theatres. But this is the first time Uncle Vanya is performed in Bengali - globally, spatially, culturally, geographically and historically distanced from the original play. The play is directed by Suman Mukhopadhyay, and produced jointly by Mukhomukhi and Tritiyo Sutro. Bhanu, the main character the play is named after, is performed by none other than the one and only Debshankar Haldar.

Bhanu is the brother of the first dead wife of Niladri (Biswajit Chakraborty) and is responsible for the upkeep and maintenance of the rich forests and lands that originally belonged to his dead sister, on the proceeds of which Niladri and his beautiful young second wife Ela (Anandarupa Chakraborty) live off in comfort in the city. Niladri is an arrogant old man who identifies himself as an intellectual professor which, as the play roles on, reveals him to be a self-centred hypocrite. His very young wife Ela, is bored with her old husband but also wearies of the extra attention paid to her both by Bhola and the local doctor Atanu (Suman Mukhopadhyay) who knows that Niladri’s daughter Sukanya (Bidipta Chakraborty) is in love with him but he does not love her back. Bhola,Sukanya and the caretaker’s lives take a somersault when Niladri comes with his attractive young wife and declares that he wants to sell off the estate and live off the proceeds of the sale.

Bhanu is a timeless, universal play, no less resonant in contemporary Kolkata than when Chekhov first conceived its emotional world. Local theatre groups have astutely reimagined it with a Bengali identity, infusing it with present-day relevance. Though fundamentally serious, the production is laced with intelligent humour and satire, largely channelled through the long-serving caretaker.

Its characters are bound by quiet failure, personal and professional. Niladri, a chronic pretender, masks mediocrity with self-delusion. In contrast, Bhanu, though equally unsuccessful, is disarmingly honest, dutifully managing and handing over the proceeds of his late sister’s property to Niladri. The latter’s abrupt arrival, intent on selling the estate, detonates the fragile equilibrium of Bhanu, Sukanya, and the caretaker.

Bhanu has lived a life of unquestioning service, despite Sukanya - the daughter of Niladri and Bhanu’s deceased sister - being the rightful heir. Sukanya herself drifts in inertia, having neither married nor forged a path of her own. Atanu, another failure, is emotionally vacant, offering her nothing.

Ela alone stands apart, her youth and beauty matched by candour and quiet discontent. Trapped in a mismatched marriage, she is acutely aware of being desired more for her looks than her worth. Her music and tentative attempts to connect with Sukanya are tinged with melancholy, as Sukanya’s jealousy and the gaze of men like Bhanu and Atanu complicate any fragile bond between them.

Every actor is outstanding, their performances reflecting their dedication and hard work. Bidipta as Sukanya is brilliant and so are the other actors headed by Debsankar Haldar and Suman Mukhopadhyay as Atul, the failed doctor who spurns Sukanya’s love. Their flexible body language, the changes in the throw of dialogue springing from the pain within, are incredibly real.

The music looms large over the production, drawing from Rabindranath Tagore and Salil Chowdhury’s gana sangeet to Atul Prosad Sen, and is deftly orchestrated and choreographed by Prabudha Banerjee.

“The music, basically a leitmotif using violin, flute and accordion bring out the idiosyncrasies of the characters in a complex network of their needs, lust, aspirations, pretensions and finally their verisimilitudes. While the tune has a haunting quality with the use of chromatic note combinations, the waltz rhythm lends it the desired satire. The music is minimalistic and deliberately underplayed to give space to the characters, all of who are searching for their own foothold in life,” says Banerjee.

Director Suman Mukhopadhyay says his aim was to dissolve the distance between then and now, between Chekhov’s world and our own. “I remain profoundly grateful to Chekhov who understood, perhaps better than anyone, that the longing to be useful, to be loved, to wrest meaning from the brief span of our lives, is universal. Through his stories and his plays, he reminds us again and again that ‘life is given to us only once.’”

(The writer is a noted film scholar. Views personal.)