Cabaret Chronicles: A Journey from Paris to Park Street
A devoted foodie with keen interest in wild life, music,…
Explore the vibrant history of cabaret in Calcutta, from its glamorous heyday in the mid-20th century at iconic venues like Trincas and Firpo’s Hotel to its decline amidst changing social norms.
As I often say, every tale is inspired by our day-to-day experiences. Similarly, this narrative finds its roots in a WhatsApp forward from my friend Sid which featured Raj Kapoor, Rajesh Khanna, and a few others along with a cabaret dancer. The picture took me on a sweep of memory back to 2003 when I was employed with American Express Bank. I remember every weekend, we visited Park Street after office.
On one such occasion just before New Year, we found ourselves comfortably seated at the Trincas Restaurant and Bars. The outlet had an added attraction for us – a live band where a pretty lady named Candis used to perform Western songs. I distinctly remember her singing ‘Brazil’ the song by Vengaboys, and surprisingly after our third round of drinks she always used to look like Kim Sasabone.
So that weekend while we were waiting for Candis’s performance, an announcement caught our attention. It informed about a special cabaret dance performance for the occasion of New Year. We reconfirmed with Abdul our regular waiter, doubting our ears. He informed us that every year Trincas hosts a special cabaret program starting from 24th December to 2nd January. Over the next few days, our pockets were completely drained, yet we were happy—we were young and carefree.
Time has passed since then, and today as I pen this, let me start by correcting the misconception I once held. Unlike I knew, ‘Cabaret’ is not just ‘cabaret dance’ but a unique form of entertainment that originated in France way back in 1808 in the form of a small club where audiences gathered around a central platform and amateur acts were performed, and this club was called cabaret – a mid 17thcentury French term denoting a ‘French Inn’.
These performances often featured coarse humor aimed at bourgeois conventions. The first notable venue, Chat Noir, opened in 1881 in Montmartre, Paris, offering poetry readings, shadow plays, songs, and comic skits. However, the most iconic French cabaret was the Moulin Rouge, established in 1889 as a dance hall. The Moulin Rouge introduced the cancan and became a stage for major stars of variety and music hall.
Cabaret’s Journey to Germany
Around 1900, cabaret made its way to Germany, where Baron Ernst von Wolzogen established the first German Kabarett in Berlin. While it retained the intimate and improvisational nature of French cabaret, it developed a distinct gallows humor. By the late 1920s, German cabarets featured risqué musical entertainment and sharp political and social satire. These cabarets became centers for underground political and literary movements, often facing Nazi retaliation for their criticism of the government. Notable figures such as composers Paul Hindemith and Erik Satie, and playwrights Bertolt Brecht and Frank Wedekind, were active in these cabarets.
Cabaret in Calcutta
Cabaret in Calcutta has a rich and colorful history that dates back to the mid-20th century. During the 1960s and 1970s, the city became a vibrant hub for cabaret performances, blending Western and Indian cultural elements. The Park Street area, often referred to as the “Street that Never Sleeps,” was the epicenter of this lively scene. Renowned nightclubs like Trincas, Mocambo, and Blue Fox hosted spectacular cabaret shows featuring talented dancers and singers.
These performances were characterized by their glamorous costumes, energetic dance routines, and a mix of Western jazz and rock music. The cabaret culture attracted a diverse audience, including locals, expatriates, and tourists, adding to the cosmopolitan flavor of the city.
Talking of cabaret in Calcutta, I have to mention the name of Arati Das more popularly known as Ms Shefali, the most popular cabaret dancer during her times.
Arati moved to Calcutta during the partition of Bengal, an event which was a result of, no not the British, but some nincompoop, fanatic, dogmatic, selfish, self-centered, (and all other adjectives) ‘so-called’ Hindu and ‘so-called’ Muslim leaders for their personal interest. Anyway let me come back to the topic, I got carried away.
So coming back to our story, Arati arrived in the bustling city with very little money and had to quickly adapt to their new circumstances. Arati’s mother, a resilient and resourceful woman, took up work as a cook to support the family. Arati, on the other hand, found employment as a domestic help in a well-off household. While her primary role was to assist with household chores, it was in this environment that her life took an unexpected turn.
The family Arati worked for frequently hosted parties attended by Kolkata’s elite. It was during these glamorous gatherings that Arati first encountered the world of dance. Fascinated by the graceful movements and the joy they brought to the guests, she began to imitate the dancers in her spare time. Dancing became an escape for her, a way to momentarily forget the struggles and immerse herself in a world of rhythm and expression.
Arati’s passion and talent did not go unnoticed. One evening, while watching a particularly lively party, she met Vivian, a charismatic singer who regularly performed at Firpo’s Hotel, a renowned venue for the city’s rich and famous. Vivian saw potential in Arati and encouraged her to pursue dancing professionally. He promised her a job and an opportunity to showcase her skills at Firpo’s.
True to his word, Vivian introduced Arati to the management at Firpo’s, and she was hired as a dancer. This marked the beginning of a new chapter in her life. Firpo’s Hotel became her stage, and she quickly gained popularity for her captivating performances. The girl who once worked quietly in the background was now in the spotlight, mesmerizing audiences with her talent and grace.
I retrieved an interview with The Telegraph in 2012 where she said…
“I still don’t know what I did. I was in a daze. But people clapped non-stop after my performance. I was taken into a huge hall called the Lido Room. I have never seen such grandeur in any hotel in Calcutta, even now it’s unmatchable. I was given the costume before my performance. I cried when I wore it. Every part of my body was exposed, from my legs to arms. It was a bikini blouse, something that belly dancers wear. Then I thought, okay, this is my profession and I must not feel bad.”
At Firpo’s, Das quickly captivated audiences with her mesmerizing performances. It wasn’t long before Arati Das evolved into Miss Shefali, an enigmatic figure who drew fans from all corners to witness her electrifying acts. Her popularity soared, leading her to perform at another prestigious venue, The Oberoi Grand. Such was the allure of Miss Shefali that her late arrivals often resulted in fans vandalizing the venues, desperate to see their icon take the stage.
Among her many admirers was the legendary actor Uttam Kumar, who was particularly fond of her hula dance sequences. Miss Shefali’s charm and grace not only captivated the common masses but also won the hearts of celebrities and notable personalities of the time.
As her fame grew, Das ventured beyond dance bars in luxurious hotels. Her exceptional talent and growing popularity caught the attention of the acclaimed filmmaker Satyajit Ray. Recognizing her potential, Ray cast her in his films “Pratidwandi” (1970) and “Seemabaddha” (1971), marking her entry into the world of cinema. These roles showcased her versatility and further solidified her status as an iconic performer.
Reflecting on her experience with Satyajit Ray, Das mentioned in the interview with The Telegraph….
“Manik da (Ray) had seen me perform at Grand, perhaps. He sent a person called Anil one day. Anil told me Dada wants to meet me. I went with him to his residence. Manik da looked at me and said, ‘There’s a role, would you like to do it?’ I said, ‘Yes’. Then he asked, ‘Shefali do you smoke?’ I lied, and said ‘No, I don’t’. I was scared to admit that I did! He told me I had to smoke for the character. And he said, ‘For this role, you have to open your blouse’. I said ‘Okay, not a problem’. My only request was that he give me the script beforehand. So he sent me the script and I learned my lines like a parrot.”
Shefali’s portrayal of a nurse in “Pratidwandi” sparked protests among nurses who were offended by the casting of “someone like her” in their profession. In response to the outcry, Satyajit Ray had to issue a public statement to calm the situation.
Such was the story of cabaret in Calcutta which began to decline in the 1980s due to changing social norms, economic factors, and the rise of alternative entertainment forms. Despite its decline, the legacy of cabaret in Calcutta remains an important part of the city’s cultural history, symbolizing a time of artistic experimentation and vibrant nightlife.
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A devoted foodie with keen interest in wild life, music, cinema and travel Somashis has evolved over time . Being an enthusiastic reader he has recently started making occasional contribution to write-ups.