Tributes Pour In for Legendary Theatre Innovator Vijaya Mehta
The Indian theatre community is mourning the loss of a revered figure, as Vijaya Mehta, an esteemed actor, director, and visionary in theatre, passed away in Mumbai on June 30 at the age of 91. According to her family, she had been battling a long illness. Mehta is survived by her daughter, actor-director Anahita Uberoi, and her two sons.
Vijaya Mehta, born Vijaya Jaywant, started her fascinating journey in theatre while studying at Wilson College in Mumbai. Her talent shone through in a 1953 college production of Shakespeare’s Othello, where she portrayed Desdemona. This performance caught the eye of the legendary theatre director Ebrahim Alkazi, who invited her to join his prestigious Theatre Group, a prominent ensemble in Mumbai at that time.
Under Alkazi’s mentorship, along with guidance from Parsi theatre icon Adi Pherozeshah Marzban, she honed her skills and began a career that would greatly influence Marathi theatre. It was in the world of theatre that she met Farrokh Mehta, a major figure in the city’s English theatre movement, whom she later married, adopting the name Vijaya Mehta.
Known for her artistic dedication and discipline, Mehta held numerous esteemed positions throughout her career. She was Chairperson of the National School of Drama (NSD) in New Delhi, led the Film and Television Institute of India (FTII) in Pune, and served for nearly fifteen years as the Executive Director of the National Centre for the Performing Arts (NCPA).
Her professional Marathi theatre career began in 1955 when she took on a leading role in Junjarrao. However, it was during the 1960s that she made a significant mark by co-founding Rangayan, an experimental theatre group with playwright Vijay Tendulkar and actor-director Arvind Deshpande. Rangayan became a pivotal force in Marathi theatre, encouraging innovative storytelling and bold artistry. They introduced audiences to the works of notable playwrights like Tendulkar and Mahesh Elkunchwar, and staged international plays adapted for Marathi audiences.
Though Rangayan disbanded in 1972, its legacy forever changed Marathi theatre by opening doors for new talents and creative techniques. Throughout her career, Mehta worked alongside some of the most esteemed figures in Indian theatre, including Sai Paranjpye. One of her standout productions was Ajab Nyaya Vartulacha, a Marathi version of Bertolt Brecht’s The Caucasian Chalk Circle, which earned acclaim at the Brecht Festival in Berlin in 1973.
Her influence also extended internationally, with various productions like Mudra Rakshasa, Shakuntala, and Nagamandala garnering recognition in Germany. In 1985, she directed the acclaimed play Wada Chirebandi, widely considered a definitive staging of Mahesh Elkunchwar’s work, where she portrayed the memorable character Aai, a strong and silent matriarch.
Beyond the theatre, Mehta made a significant impact on cinema and television, directing the award-winning Smriti Chitre and the celebrated film Pestonjee, which was recognized for its sensitive depiction of friendship.
With a career that spanned several decades, Vijaya Mehta leaves behind a rich legacy that has shaped contemporary Indian theatre and inspired countless actors, playwrights, and directors. Her pioneering contributions continue to resonate within Marathi theatre and across the broader performing arts in India.
