The play that altered Marathi theatre completes 60 years

Toh Mee Navhech' (That's Not Me), renowned playwright-humorist P. K. Atre's play, fused love, lies and law into a gripping drama that swept Maharashtra off its feet six decades ago. Connoisseurs gathered at a city auditorium recently to commemorate the play's sixtieth anniversary.
Based on a true story, Toh Mee Navhech chronicled the life and times of Madhav Kazi, self-admittedly a tobacco trader, who would ensnare single women into his web, sweet-talk his way into their lonely hearts, marry them only to fleece them, and dump them before turning to his next target. Needless to add, the Smart Alec soon ended up in prison.
The court case, which rattled the serene 1960s, was extensively reported by the media, including 'Maratha', a Marathi morninger of which Atre was the editor. Referring to his law reporter's copious notes, Atre cut out the legalese and wove an enchanting interplay of human emotions into a fast-paced narrative, peppered with wry humour and sharp dialogues lampooning politicians, bureaucrats and self-styled religious preachers. The real life Madhav Kazi became Lakhoba Lokhande in the play.
Toh Mee Navhech was produced by Natya Niketan, a reputed production house run by theatre stalwart MG Rangnekar. As was his wont, Rangnekar ignored top-rung actors of the time and instead groomed Prabhakar Panshikar - then a 'Natya Niketan' greenhorn in search of a big break - as Lakhoba Lokhande, the protagonist.
Panshikar was a tad nervous as the play demanded a quick switchover of roles. Lakhoba Lokhande was notorious for transforming his persona-demeanour, lingo and hair style-to conceal his identity.
Toh Mee Navhech premiered in October 1962 at a theatre festival in Delhi. However, it was a little while before it became a hit. "There would be serpentine queues for tickets. The number of connoisseurs who saw the play again and again is legion," said Daji Shastri Panshikar, Prabhakar's brother and Sanskrit scholar.
Describing Atre's runaway hit as a "landmark, original play", noted critic Arun Naik said, "Toh Mee Navhech was not an adaptation. It was firmly rooted in our soil. Atre and Rangnekar teamed up to explore the theme in a nuanced manner."
Noted theatre person Pratima Kulkarni said the play is laced with social content as Atre lambasts the middle class for its cowardice, dishonesty and utter lack of understanding for young working women eager to tie the knot.
Toh Mee Navhech had its own share of problems, though. Atre fought with Rangnekar over copyright issue. Moreover, Atre claimed the entire credit for the play's success. "While I have cooked the delicious dish, Rangnekar is there only to serve it," he remarked caustically, it is said.
"What is important is the fact that Rangnekar used the 'revolving stage' technique, to keep intact the play's back-and-forth momentum.
More fights and a legal case later Atre affirmed his right over the play and handed it over to Panshikar, who by then had himself turned producer.
For the next four decades, Panshikar toured across Maharashtra, staging the Kazi story in far-flung villages and sleepy tehsils, bustling towns and city squares-sometimes even in a makeshift tent, earning the status of an icon.