Prithvi Theatre

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Prithvi Theatre is one of Mumbai's best known theatres. It belongs to the Kapoor family, one of the most influential actor/director families in Bollywood. The theatre is named after Prithviraj Kapoor who first founded 'Prithvi Theatres', a travelling theatre company in 1944. The company ran for sixteen years. . In 1978 Prithvi Theatre opened in Juhu, Mumbai by Prthiviraj's son and daughter-in-law, actors Shashi Kapoor and Jennifer Kapoor. The Prithvi theatre company was established in 1993. It is now run by Prithviraj's grandchildren, Kunal Kapoor & Sanjana Kapoor

Prithvi Theatres was founded in 1944 , by Prithviraj Kapoor, as a travelling troupe with 150 members , which staged productions across India. Its maiden performance was Kalidasa's classic "Shakuntala". In subsequent years the theatre staged some 2,662 plays such as "Deewar" (Wall), "Pathan" (a community comprising Hindus and Muslims of North India), "Ghaddar" (Traitor), "Aahuthi" (Offering), "Kalaakar" (Artist), "Paisa" (Money) and "Kisaan" (Farmer). Prithviraj starred as the lead actor in every show.. His work in the Indian film industryfunded the activities of the company
Prithviraj Kapoor's youngest son Shashi Kapoor, who had trained as an actor in the Prithvi Theatres, married Jennifer Kendal, daughter of Laura and Geoffrey Kendal, and the leading actress of their theatre company, Shakespearana. Both Shashi and Jennifer shared a deep passion for theatr, and a great respect for Prithviraj's dream for Indian theatre.

Rewind '09: Nisha Narayanan - 'Ad community can use radio in the South effectively by using the last mile connect'

You are here - Home › Rewind 09 Rewind '09: Nisha Narayanan - 'Ad community can use radio in the South effectively by using the last mile connect' Red FM Sr Vice President (Programming & Projects) Nisha Narayanan Radio has a history of preserving the traditional music of this country, its folk and classical forms. The public service broadcaster – All India Radio – has kept this legacy alive for over 80 years now. It is unfortunate that our FM policy and lawless copyright regime does not allow commercial FM players to be as versatile and experimental in their programming as they can be, to reflect India’s diverse musical traditions. They are compelled to live with a limited repertoire of film music, and survive on bland and unimaginative playlists.    In spite of a hostile FM policy, south India has had considerable success with commercial radio. During Phase II of FM licensing, a remarkably large number of regional players from the south bid for frequencies. FM radio found takers in all the 18 southern cities where frequencies were auctioned, unlike the north where many frequencies went a-begging and city after city went without a private radio station. From Mangalore to Rajamundry, from Tirunelveli to Kannur, every Phase II city in the south has at least one radio station.  Incidentally there are 15 players who forayed into FM radio in the south; out of which at least 10 are regional players. Radio penetration in key metros in the South is significantly higher than in other regions. According to IRS 2009, radio penetration in Chennai is 42 per cent, and 35 per cent in Kochi and Bangalore. In comparison, Delhi has barely 28 per cent radio penetration, and the corresponding figure for Mumbai is even lower. We can assume that a key factor driving this high appeal of radio in the south is the quality of its regional language offerings, which are localized not just to the state but to urban and rural areas within the state. Regional players have the advantage of knowing the local market and local ethos, and for obvious reasons localization favors print and radio more than any other medium. Though a broadcaster with a national footprint with 41 stations, localization is at the core of Red FM’s programming and marketing initiatives in all the cities we are present in.