Lillete Dubey’s Jaya: A Rock Opera Rooted in Mumbai’s Cultural Soul.

Kenneth Hopkins
Sep 21
5 min read

Updated: Sep 21

Lillete Dubey’s Jaya: The Rock Opera is not just another production it is an affirmation of Mumbai’s stage culture, its musicians, its actors, and its theatre history. Staged with meticulous detail and performed by a multi-creed, multi-talent cast, Jaya reminds us that India’s oldest stories are still alive and evolving

To see this epic staged in Bandra during the Bandra Fair felt poetically apt. Just as many a जात्रा happens across the country during a village’s मेला —where folks gather to sing, dance, and retell their sacred stories— it’s heartening to see Bandra put on it’s own Jatra. And fittingly so too, after all Bandra is the pop cultural epicenter of India’s urban imagination and of the indocentric world.

Lillete Dubey the cultural phenomenon:

For decades Lillete Dubey has been one of the most faithful players in the Mumbai theatre scene, consistently giving us productions that can compete with the best of global theatre—not just in scale and design, but in content, discourse, and cultural relevance. It is humbling to witness the kind of quality she brings to the stage. With Jaya: The Rock Opera, she does it again: those who may have been skeptical about experiencing the Mahabharata in this form are won over, as Dubey infuses the production with a distinct and spot-on musical flavour while never compromising on global theatrical standards. She delivers, without the slightest flaw, an unforgettable theatrical experience

A Score That Carried the Story

Composer Ashutosh Phatak gave the show a score that fused Indian soul with Western symphonic heft. Each note was tailored to the performers, creating a soundscape that felt bespoke, and an ode to the artiste of each cast member and their body of work. From the war chants to the quieter duets, the music carried the actors’ voices and gave the story both intimacy, soul and grandeur.

Performances That Defined the Stage

What made Jaya extraordinary was how the roles felt written for the actors themselves, paying homage not just to their talent but to their entire body of work.

Megan Murray (Draupadi)

Megan owned the stage at St Andrew’s as she has since we’ve known each other as kids, performing at the St Andrew’s Zonals this time with yet another one of her captivating performances, commanding attention with every note and every gesture. Her Draupadi was delivered as layered, defiant and deeply affecting, leaving no doubt that she was meant to stand in that spotlight and shine.

Asif Ali Beg (Shakuni)

A legend of Mumbai theatre, Asif’s Shakuni was pure bespoke brilliance his jazz background, timing, and theatrical wit transforming every limp and every phrase into artistry. His decades of contribution to Mumbai’s musical stages were on full display. His immaculately mischievous comic timing is always a treat to watch. Tirthankar Poddar “2Blue” (Yudhishthira)

Known for his powerhouse presence in Mumbai’s live music scene, 2Blue gave Yudhishthira moral gravitas without losing emotional nuance. His duet with Asif’s Shakuni during their चौसर gamble was brilliantly timed and executed, reminding audiences why he has been such a vital part of the city’s stage and music culture from I-rock to Jesus Christ Superstar.

Vikrant Chaturvedi (Duryodhana)

Vikrant delivered the performance of the night for me. His Duryodhana was ferocious, layered, and magnetic. With a bass voice that shook the theatre, he captured both menace and humanity. His years of theatrical experience were distilled into this role, making his Duryodhana unforgettable.

Varun Narayan (Karna) and Ujjayinee Roy (Kunti)

Their duet was one of the show’s shining moments, tender, powerful, and vocally rich. Everyone has been talking about Ujjayinee’s Kunti and Varun’s Karna’s voices. Varun lit up the stage and was definitely the audience favourite.

Keshia B (Gandhari)

Keshia brought raw power and emotion to Gandhari, her commanding vocals resonating across the hall with soul-stirring intensity as all her performances do.

Danny Sura (Arjun)

Danny carried Arjun’s journey with a mix of strength and sincerity, anchoring his role with poise. The man’s Shakespearean London Globe vibe is what gives his performances the oompfh.

Mehmood Curmally (Bhishma) and Shagun Trisal (Dhritarashtra)

Both brought depth and dignity, grounding the epic conflict with human vulnerability even with their limited parts.

Yuvraj Bajwa (Bhim)

Balanced strength with sensitivity, creating a Bhim that was both commanding and heartfelt.

Sherrin Varghese (Krishna)

Sherrin played Krishna with brilliance, bringing his Band of Boys charm but transforming it into something more profound. This was the Krishna we never knew we loved. He embodied the moniker Kamal Nayanam—the lotus-eyed deity—using his eyes as expressively as his voice. Every glance, every gesture, every subtle movement of his body carried the playfulness and wisdom of Krishna. His performance was at once charismatic and devotional, making his Krishna both relatable and divine. Audiences will surely come away cherishing his interpretation.

The Ensemble — Flawless in Execution

The ensemble was nothing short of flawless. From Tanay Malhara (Abhimanyu), Arush Pateriya (Nakul), Rushab (Sahadeva), and Rupesh Chouhan (Dushasana) to Farha, Chetna Dhyani, Jasmine Grover, Pihu, and Aarohi Sharma, their collective precision in choreography was breathtaking.

Of course Vernon D’Souza (Sanjaya) played a singing Sanjaya with a voice that was as powerful as Sanjaya’s Doordarshan powers as he narrated the Kurukshetra war to the Blind King.

Every flick of the wrist, every martial-art-infused movement, every synchronised note carried weight. Their flawless execution of choreography gave the show an international standard of discipline and artistry.

Production Excellence

The stage itself was world-class.

• Fali Unwalla’s production design gave the show grandeur.

• Lynne Fernandez’s lighting design made every battle and every lament cinematic.

• Pallavi Patel’s costumes blended tradition and contemporary flair.

• Arpit Singh’s Kalaripayattu-based choreography gave the war scenes physical poetry.

• Suzanne D’Mello’s vocal coaching ensured every note was hit with power.

And behind it all, sound engineer Arman Tejani & production manager Jignesh Karia kept the show running with precision.

A Cultural Celebration

What sets Jaya apart is not just its scale, but its spirit. This is theatre as celebration. A multi-creed cast coming together in Bandra, during Bandra Fair, to retell the Mahabharata in rock-opera form. It was both international in standard and deeply Indian in soul. For too long, Mumbai stages have leaned on Eurocentric musicals. Jaya proves we can celebrate our own epics with equal grandeur, creating something that is both local and global.

Final Word — My Duryodhana

For me, Duryodhana has always been one of the most fascinating characters of the Mahabharata: flawed, ferocious, and tragically human. And in Jaya, Vikrant Chaturvedi’s interpretation of him was nothing short of spellbinding. He gave Duryodhana not just menace but depth, a humanity that made you feel his hunger for recognition, his wounds, his power.

As much as I loved Krishna, Karna, and Draupadi, it was Vikrant’s Duryodhana who stayed with me long after the lights went down.

This is not just a show—it is an event. A celebration. A cultural landmark. If you care about theatre, about music, about India’s stories, make it a point to go watch Jaya.