The dramaturgical perspective of society suggests that everyone is performing, constantly managing impressions depending on who is watching. If Only, written, directed and produced by Vidushi Mehra, explores this school of thought. Set in Mumbai’s Hindi film industry, it suggests that for those chasing success in showbiz, the performance never really ends. There is no backstage. The play follows four young aspirants – Aaliya, an actor grappling with insecurities beneath her success; Karam, who dreams of becoming the quintessential Bollywood hero; Anika, a photographer yearning to be seen for who she truly is; and Vedang, a writer trying to hold on to authenticity in a commercial industry. As their lives become increasingly intertwined, ambition, desire and ego blur the line between who they are and who they are expected to be, forcing each to confront secrets and choices that threaten not only their own futures but also those of the people around them. The play, staged at KNMA, Saket, examines the complexities of aspiration, identity and the pursuit of recognition. The strongest aspect of the production is its ensemble. Taarini Puri, Vivhan Mehra, Shivam Sahni and Lavanya Rathore are completely invested in their characters. The chemistry between the four actors reflects the rigour of their rehearsal process, evident in their timing, dialogue delivery, ease with one another, and nuanced emotional transitions throughout. The use of the stage space is particularly interesting. There are several moments when all four actors occupy the stage, yet the audience understands they are in entirely different locations. Without relying on elaborate sets, the actors, through precise blocking and expression, make those transitions believable. Another effective element is the live tabla by Bivas Sharma. Rather than merely accompanying the action, it punctuates emotional beats, amplifying moments of tension, introspection and drama. The music becomes an extension of the actors’ expressions. More than a story about Bollywood, If Only is about performativity. It makes me think of Sociologist Erving Goffman’s idea in The Presentation of the Self in Everyday Life (1956) that we are all constantly performing versions of ourselves. In the entertainment industry, however, that performance seems inescapable. The characters continue to perform even when the cameras are absent, and the play captures the emotional burden of living in that perpetual state of presentation. In doing so, it encourages the audience to empathise with people in an industry that often appears glamorous on the outside but is deeply vulnerable beneath the surface. While the ending could be sharper, the play succeeds in telling an engaging, thoughtfully staged story, carried by committed performances and strong writing.
Should you watch it?
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