While OTT is a blessing, the struggle never ends: Priya Bapat

Priya Bapat, whose performance (as Poornima Gaikwad) in Nagesh Kukunoor’s City of Dreams has made her a household name, says that while “OTT is a blessing for actors like me, the struggle continues.”Priya, who has done several acclaimed Marathi films and Bollywood films like Costao, Visfot and Munna Bhai M.B.B.S., started her journey as a child actor and recently completed 25 years in showbiz. She elaborates, “After bagging a lead role in Nagesh Kukunoor’s project, I thought I had arrived. But even after the first two seasons, there were no offers. It was only after the third season that people started recognising me and interesting projects started coming my way. But the struggle never really ends. Even today, I have to audition and follow up. That’s the life of an actor; you just keep doing your work.”‘Regional content is under-represented on OTT’Talking about the OTT boom, she says, “OTT has been a blessing for actors like me because it gives us a platform to reach out to a wider audience. It’s a game-changer, especially for new actors. My real challenges came from Hindi content. Marathi cinema and theatre gave me fantastic stories and helped me polish my craft, but Hindi projects pushed me into new zones. My OTT debut (a political figure in City of Dreams), then a cop in Andhera, or playing Nawazuddin Siddiqui’s wife in Costao-all these emotionally intense roles demanded something very different. They stretched me as a performer and gave me fulfilment in ways Marathi cinema couldn’t at that time because of the lull in content.”However, she feels, “Regional content is still under-represented on OTT. Except for the south, other regional industries need to create more compelling stories to make the most of this opportunity.”‘I auditioned for several big projects, but the roles went to star kids’Asked about the transition from Marathi cinema to Hindi projects, she says, “Nothing was smooth. The struggle was very real. After Munna Bhai M.B.B.S, casting directors would call me for big roles in big-banner films. I auditioned for almost every major project, but those roles went to star kids.”She adds, “It was draining because while Marathi cinema gave me recognition, I wanted to grow beyond regional content and reach more people. Then came City of Dreams. There were three rounds of auditions, the second one with Nagesh Kukunoor himself. After that, I heard nothing from them for a while. At that time, Umesh (Kamat, her actor-husband) and I decided to go on a vacation. We were in Kochi when I got a call saying I had been selected for the lead role. I couldn’t believe it!”‘Theatre compensated for what films lacked’Looking back at her journey in Marathi films, Priya says, “Marathi cinema has always been content-driven. But in the last few years, I felt we were repeating content. For almost 4–5 years, there weren’t any standout stories. But recently, films have started experimenting with different genres again.”She adds, “At one point, cinema became more commercially focused, and somewhere we lost direction. But in the meantime, Marathi theatre gave me opportunities to perform a variety of characters. It compensated for what films lacked.”‘Films like Hellaro have impressed me’Asked about her take on Gujarati cinema, she shares, “I’ve actually grown up around more Gujaratis than Marathis! I love what’s happening in the Gujarati industry right now. Films like Hellaro really impressed me, and my friend Niilam Paanchal and Manasi (Parekh) are doing excellent work.”She adds, “I’ve watched more Gujarati plays than films. One of my Marathi plays was even translated into Gujarati and performed on stage. I loved how Gujarati theatre actors brought their own unique twist to characters and stories. I would love to do a Gujarati film if I am offered a good role. I promise I’d polish my Gujarati too! I want to explore as many industries and characters as I can.”‘People still love the big-screen experience’Is OTT a threat to other mediums? She feels, “Cinema and OTT can coexist. Today, audiences have a lot more content to choose from, but they still love the big-screen experience. Social media has made content consumption easy, but that’s very temporary. Eventually, people will return to theatres for immersive stories. OTT has a bright future too, and just like television coexisted with cinema, OTT will also thrive alongside films. It’s not about competition; it’s about coexistence.”