Feroz Abbas Khan is a very busy man these days. Apart from being deep into rehearsals for his upcoming musical production that will inaugurate the 2,000-seater Grand Theatre at the Nita Mukesh Ambani Cultural Centre, he is also looking into the Centre’s year-long theatrical programming.

Khan is wary of revealing too much about his new production—titled ‘The Great Indian Musical: Civilization to Nation’—which has been two and a half years in the making, with two years lost to the pandemic. He wants the audience to “experience” without pre-conceived notions. This grand and immersive theatrical experience will celebrate exemplary Indian dance, drama, music, art and more, while utilising and showcasing The Grand Theatre’s sophisticated technical capabilities. For the 90-minute show, which will run from April 3 to 23, 2023, Khan has roped in an impressive lineup of international talent such as 10-time Tony Award nominee and two-time winner for lighting design Donald Holder; two-time Obie Award winning production designer Neil Patel; multiple Olivier and seven-time Tony Award-winning sound designer Gareth Owen; and Emmy award-nominated projection designer John Narun. Audiences can expect spectacular tableaux vivants, a live orchestra, up to 350 performers, and over 1,000 costumes designed by Manish Malhotra, all leading up to 90-minutes of high-voltage entertainment.

Edited excerpts from the interview:

After the unprecedented success of ‘Mughal-E-Azam: The Musical’, what did you have in mind to do next?

I did an inspired version of ‘Romeo & Juliet’ titled ‘Raunaq & Jassi’. It is an original play written in Hindustani verse, a musical with Punjab as the landscape. It’s perhaps my most challenging piece of work and very close to my heart. It premiered just before COVID-19 and the curtains came down abruptly. We will bring it back on stage soon.

What was the genesis of ‘Civilization to Nation’? Tell us about how your latest production and how it developed in conversation with the founder, Nita Ambani?

This has been envisioned by Mrs Ambani herself—she wanted something that truly represents who we are as people since this was the launch of an Indian visual arts and performance centre. That was the starting point.

Nita and I have known each other for almost 44 years. Our first theatre company took shape at her home in Santacruz with the generous hospitality of her family. We produced some extraordinary productions and worked mostly at Prithvi Theatre in Juhu, Mumbai. Memories of those dreamy times are still very vivid. She was a stunning classical and folk dancer—her presence was so magnetic; she always owned the stage.

This show and the new Cultural Centre are part of a very personal journey of somebody who is fundamentally an artist. It was her dream to create platforms and spaces that would allow artists to express themselves supported by world-class infrastructure and outstanding hospitality. The Nita Mukesh Ambani Cultural Centre (NMACC) is that place.

Nita and Mukesh Ambani wanted to showcase the best of Indian performing arts as the curtain raiser to the NMACC. She had a vision and passion to make India proud and after several conversations, ‘Civilization to Nation’ (C2N) was imagined.

What is special about an urban centre like the NMACC? Tell us about the salient features of The Grand Theatre that excite you as well as the two smaller theatrical venues that flank it.

The physical and material needs of an urban society are normally well served, but the stirrings of its soul must find an abode, ideally a gathering of artists and audience that can collectively sensitise, heal, provoke and enrich. The NMACC is a response to an urgent need for an urban cultural centre that promotes excellence, and is inclusive and democratic in its disposition.

I have no doubt that The Grand Theatre will change the theatrical landscape of India. Apart from being an architectural beauty, it is perhaps one of the best theatres globally. All those international productions you thought would never be seen in India will come to The Grand Theatre. For too long, international companies have resisted coming here because we did not have infrastructure that met global standards.

Alongside the theatre are The Studio Theatre (with a capacity of 250 seats) and The Cube (150 seats), which seek to nurture new voices and showcase cutting-edge performances.

As a storyteller, how much of your work do you like to underline or leave open to interpretation? What are the misconceptions about ‘C2N’ that you’d like to dispel?

Theatre storytelling is slightly different than a novel, short story or film. Most of the great plays have multiple interpretations and have been performed over thousands of years in hundreds of languages and countries to suit their concerns, fantasies and ecstasies. Shakespeare and the Greek theatre of Sophocles and Euripides are fine examples of imaginative and interpretive presentations. A written play is just the beginning of possibilities that cannot be contained in a singular thought.

I want to clarify that ‘C2N’ is not a compulsory cultural obéissance or a history lesson, it is an intense piece of high energy and powerful performances with delicate moments that make it a deeply moving experience.

What are the first elements you like to put in place for a grand theatrical experience such as this?

It starts with an idea, then comes the structure and the articulation of a compelling reason for it to be worthy of sharing with an audience. A road map is sketched but the destination is a mystery. Next, we gather excellent collaborators who feel it is worth their time and reputation to invest in the show.

Do you prefer to work with a team you are familiar with or are new collaborations stimulating for you? Tell us about how some of the award-winning international crew came on board—and why you chose who you did.

There is a level of comfort and ease when you work with the same team over a period. A certain rhythm is set where you almost communicate in silent gestures, a synchronicity sets in. The level of respect and understanding is reflected in the end result. However, there are always some new collaborators who introduce fresh energy and insights.

With ‘C2N’, we have a dream team, and they have all come together because they believe it is a rare opportunity to create something special and memorable.

What are some of the most theatrical experiences you’ve had yourself, in India and abroad?

‘Chakravyuh’, a Manipuri retelling of the story of Abhimanyu from the Mahabharat is perhaps the finest theatre production I have ever seen. Ratan Thiyam, the great director from Manipur, has created a masterpiece that is inspiring and intimidating.

What are the ingredients of a good theatre experience in Feroz Abbas Khan’s book?

Something must change in the audience as they leave the theatre. It should be emotionally engaging and intellectually stimulating.

Feroz Abbas Khan’s ‘The Great Indian Musical: Civilization to Nation’ will showcase at The Grand Theatre, Nita Mukesh Ambani Cultural Centre, in Mumbai from April 3 to 23, 2023.