Kunal Kapoor: Keeping the Performing Arts Alive in Mumbai

Kunal Kapoor, the trustee of Prithvi Theatre, shares his insights on the challenges and survival of the performing arts in Mumbai, emphasizing the need for government support and the importance of maintaining cultural heritage.

TheatrePerforming ArtsKunal KapoorPrithvi TheatreMumbaiReal Estate MumbaiNov 01, 2025

Kunal Kapoor: Keeping the Performing Arts Alive in Mumbai
Real Estate Mumbai:Kunal Kapoor, 66, is a well-known figure in Mumbai’s cultural scene, having dabbled in acting and advertising before finding his true calling in theatre. As the trustee of Prithvi Theatre, a legacy left by his late father, film star Shashi Kapoor, and his mother, actor Jennifer Kendal Kapoor, Kunal has been at the forefront of preserving and promoting the performing arts in the city. His parents were co-trustees of the theatre, which was established in 1978 to honor the performing arts.

On a busy afternoon, Kunal took the time to discuss the challenges and survival of the performing arts in Mumbai. The Prithvi Theatre, a beacon of cultural heritage, has faced numerous financial challenges over the years, but Kunal remains determined to keep it afloat.

Theatre, according to Kunal, is deeply ingrained in his family’s DNA. His grandfather, Prithviraj Kapoor, established the touring company Prithvi Theatres in 1944, laying the foundation for a legacy that his children and grandchildren continue to uphold. Kunal’s siblings, London-based photographer Karan and sister Sanjana, are also deeply involved in the arts.

When asked about the financial struggles of running a theatre, Kunal candidly admitted, “We are still in the red. More pennies, please.” He recalled how his father and he approached the Vazir Sultan Tobacco (VST) company in 1985 to sponsor their festival, which was running into losses of ₹84,000 at the time. The relationship with VST lasted for nine years, helping to keep the theatre afloat. After 2010, however, the relationship with sponsors changed, making it increasingly difficult to sustain the theatre financially.

Kunal emphasizes the importance of long-term sponsorships, arguing that corporate sponsors often spend large sums on single events, which have a limited impact. “You can pump the same amount of money for at least four shows, and your name can be put on the plaque, which people will see several times,” he suggests. However, he acknowledges that corporate sponsors today lack the patience for such long-term commitments.

The performing arts, Kunal notes, are often undervalued in India. “While issues like education and healthcare are crucial, the arts are graded very low,” he laments. He recalls a top executive from an ad agency referring to theatre artists as “jhola-walas,” highlighting the dismissive attitude towards the arts in certain circles.

Mumbai’s theatre landscape has evolved significantly over the years. In the 1940s and 1950s, theatres were giving way to cinema halls, and the term “theatre” became synonymous with cinema halls. Kunal holds a grudge against this, noting that the Bombay development plan incorrectly marks their property as a cinema theatre. “It’s akin to all vacuum cleaners being called Hoovers, or all photocopiers Xerox,” he explains.

Kunal’s family has a rich history of supporting the arts. His grandfather, Prithviraj Kapoor, wrote an appeal to Sardar Vallabhbhai Patel seeking finance to build a theatre in Bombay. Despite the challenges, his parents did their best to expose Kunal and his siblings to the performing arts. He vividly remembers a jugalbandi between Ustad Vilayat Khan and Ustad Bismillah Khan, which his mother took him to watch during his ICSE exams.

The performing arts in the West are often supported by local councils, and the government does not dictate terms. Kunal would appreciate it if the GST on theatre tickets were removed to encourage more audiences to attend performances. “We don’t want the government to support us in that manner, but removing the GST would be a significant help,” he says.

Kunal grew up in a multicultural home, where his parents were both disciplinarians and indulgent. Family discussions often revolved around theatre, movies, and food, rather than mundane topics like the stock market or jewelry. He recalls traveling to England every summer, where his parents would watch two films and a play every day during their two-week stay in London.

Despite the challenges, Kunal remains passionate about the performing arts. He believes that Prithvi Theatre is a high point in Mumbai’s theatre scene today. However, he is critical of amateur theatre, arguing that it does a disservice to the craft. “I may be interested in dentistry, but will you let me pull out your tooth?” he quips.

Kunal has lived in both south and north Mumbai, observing the different ecosystems of these areas. South Mumbai, he notes, is artistically dead, focusing primarily on the stock exchange, lawyers, and courts. In contrast, north Mumbai is a vibrant hub for the arts, with numerous gigs and performances taking place in big and small spaces alike.

Kunal’s commitment to the performing arts is unwavering. “We are like sharks; we have to keep swimming. If we stop, we will sink,” he concludes, emphasizing the importance of continuous effort in preserving Mumbai’s cultural heritage.

Frequently Asked Questions

What is the main challenge faced by Prithvi Theatre?

The main challenge faced by Prithvi Theatre is financial sustainability. Despite long-term sponsorships, the theatre often runs into losses and struggles to maintain its operations.

How does Kunal Kapoor view the role of corporate sponsors in supporting the arts?

Kunal Kapoor believes that corporate sponsors should invest in long-term commitments to support the arts, rather than focusing on single events. He argues that the same amount of money can be used to fund multiple shows, providing more value and visibility.

What is Kunal Kapoor's stance on government support for the arts?

Kunal Kapoor does not want the government to dictate terms for supporting the arts. However, he would appreciate the removal of GST on theatre tickets to make performances more accessible to the public.

How does Kunal Kapoor describe the theatre scene in Mumbai?

Kunal Kapoor describes the theatre scene in Mumbai as a struggle, particularly for professional theatres. He is critical of amateur theatre, which he believes does a disservice to the craft.

What is Kunal Kapoor's view on the cultural landscape of south Mumbai versus north Mumbai?

Kunal Kapoor believes that south Mumbai is artistically dead, focusing on the stock exchange and legal professions. In contrast, north Mumbai is a vibrant hub for the arts, with numerous performances and cultural activities.

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