Prof. Dr. Avinash Kolhe pays tribute to legendary theatre visionary Vijaya Mehta, whose remarkable journey across stage, cinema and institution-building transformed modern Indian theatre, leaving behind an enduring artistic legacy that will inspire generations forever.

The passing of Vijaya Mehta marks the end of one of the defining chapters in modern Indian theatre. Revered as a pioneer of Marathi experimental theatre, an acclaimed director, actor, mentor and institution-builder, she reshaped the language of performance through Rangayan, parallel cinema and her leadership at major cultural institutions. Tributes from across India have hailed her as a visionary whose influence transcended generations of actors, directors and theatre practitioners.

Remember Begum Akhtar’s ghazal ‘Aai Barsaat To Barsaat Ne Dil Tod Diya’? This was never truer than this year, which brought the news of the sad demise of legendary theatre and film personality Vijaya Mehta. She breathed her last on Tuesday. She was 91. She was affectionately called ‘Bai’.

Born to Dattatray and Bhurabai Jaiwant on November 4, 1934, Vijaya received theatre training at the National School of Drama in Delhi under instructor Ebrahim Alkazi. She had a degree in Economics and Political Science from the University of Mumbai. It is always rare to find one’s calling so early in life. Vijaya knew that she was born for theatre, and at 18 she met Ebrahim Alkazi! Since then, she had been making a name for herself in theatre as well as on celluloid.

The Rangayan Revolution

In the early 1960s, when ‘Rangayan’ was formed, she was a founder-member of this group, which later carved out a niche for itself. Stalwarts like Vijay Tendulkar and Dr. Shreeram Lagoo were the other members. ‘Rangayan’ presented plays like Mother (1961), Shitu (1961), Mi Jinklo, Mi Haralo (1963) and Ek Shoonya Baji Rao (1963). She contributed to these productions as both actress and director. The group was totally devoted to experimental theatre and had a policy of not performing any play, however successful, beyond its 25th show. The idea was to devote time, energy and finances to more experimental plays.

Then, in the 1970s, she introduced German playwright Bertolt Brecht to Marathi audiences by staging his The Caucasian Chalk Circle, titled Ajab Nyay Vartulacha in Marathi. In due course, she moved to commercial theatre and directed plays like Hamida Baichi Kothi and Barrister, which were huge successes. People saw these plays repeatedly.

A Legacy Beyond Theatre

In due course, she entered Hindi films. Govind Nihalani cast her in his award-winning movie Party. Then came Shyam Benegal’s Kalyug. Not content with acting alone, she soon directed the full-length feature film Rao Saheb in 1986, then Pestonji in 1988, followed by the TV serial Smriti Chitre. Institution-building too was part of her contribution to art and theatre. She was the Executive Director of the NCPA. She was also the Chairperson of the National School of Drama in New Delhi. She worked as a trainer for theatre workshops organised by the Maharashtra Government.

Her career, spanning over six decades, was full of awards and accolades. In 1975, she was awarded the Sangeet Natak Akademi Award for Direction, the National Film Award for Best Supporting Actress for Rao Saheb in 1986, the Padma Shri in 1986, the META Lifetime Achievement Award, and many more.

The Woman Behind The Legend

Her autobiography, a must-read for all actors, Zimma-Aathavnicha Gof, received the Bharat Damani Sahitya Puraskar and the MSP Lakshmibai Puraskar. She had two sons from her marriage to Harin Khote. Following his death, Ms. Mehta married Farokh Mehta, with whom she had a daughter.

Anupam Kher said it beautifully: “She never raised her voice; she raised your standards.”