After spending nearly 15 years immersed in theatre, Ranjana Anjan has finally entered the world of screen acting with Chand Tara – a project for which she has already bagged the privilege of having its trailer screened at the prestigious Cannes Film Festival.
But for Ranjana, the journey was not about glamor or overnight fame. Raised in a deep-rooted theatrical family and mentored by stalwarts like her father Anjan Srivastav along with legends from the Indian People’s Theater Society, she grew up believing in craft, discipline and process more than the result.In this candid conversation with ETimes, Ranjana opens up about the crushing transition from stage to screen, her father’s unwavering support, the financial struggles that shaped her middle-class upbringing, and the life lessons she learned from icons.
After spending nearly 15 years in theatre, you are now making your screen debut with Chand Tara. How do you feel now? Was it emotionally and creatively exhausting going on a film set?
So overwhelming. In fact, we started shooting around February 9, and I was only able to cast the part on February 5 after multiple rounds of auditions and screen tests. I only had four days of preparation because the shoot was already planned, but there were many logistical issues and casting uncertainties before things finally worked out.
I remember spending those four days crying because I imagined you working for 15 years and then finally getting your first chance in movies.
Although I didn’t look at it as a “big accomplishment”, I did look at it as another project. It was a small budget film produced largely by theater people. We weren’t dealing with huge budgets or anything extravagant. We simply wanted to tell a story.But after all those years of work, the fear was that if I finally got this opportunity and blew it, what would happen next? I was really thinking about backing out because I felt like I had so little time to prepare.
I had to learn the Hyderabadi Urdu dialect, understand the singer’s style from historical dramas, and deal with heavy lines. Memorizing the lines was the only easy part because theater trains you to remember entire texts.It was very overwhelming, but at the same time, when you’re in that process, you don’t think too much about the film eventually being released or it becoming something bigger. After 15 years of continuous theater work – three or four plays a month, rehearsing five to seven hours a day – acting has become a way of life for me.One of the best pieces of advice I received came from the director himself. He told me: “Don’t panic. Treat it like a play.” Since we are all from the same theater fraternity, this advice really calmed me down. I ultimately approached the film the same way I approach a theatrical production.Those fifteen years in theater prepared me for a moment I never imagined would actually happen.
Were you always looking forward to moving into films and acting on screen?
No, not at all. Until Covid came, I never thought about getting into films or acting on screen.I was deeply involved in my theater group. I was acting, directing the production, handling lights and sound, thinking about ticket sales, basically doing everything. I was even an acting representative for my father when another actor was absent, and I also helped him with his screen work as a secretary of sorts.I really thought that acting on screen was something that I might not be ready for. I wasn’t sure I understood his grammar because acting on screen is very different and very difficult in its own way.Then Covid happened, and suddenly there was no stage to perform on. Theater took a very long time to recover economically, while screen auditions slowly began to resume. I became desperate to start acting again because acting was such an integral part of my identity, upbringing, and home environment.When that was suddenly deleted, it created a huge identity crisis. Ironically, thanks to Covid, I started trying to work on screen in 2021.
I was finally able to start last year with an OTT project that will be released this year, but it took me four to five years to move from stage to screen.People often assume that stage actors can easily adapt to acting on screen, but I don’t think that’s true at all. Both mediums are very different and vibrant in their own way.
What was going through your mind during the Covid period when theater stopped completely?
It was probably the most frustrating period of my life, although of course it was difficult for everyone.Until Covid came along, I never felt the need to do anything else because theater gave me complete satisfaction. On stage, you live a full story and receive instant gratification from the audience response. I think I was pretty comfortable in that world.In terms of validation as well, my father was happy that I was involved in theater because he himself loves theater more than any other medium. I grew up surrounded by theater legends like Rakesh Bedi, Sulabha Arya, Ramesh Talwar and others who knew my parents even before I was born.
They’ve seen me grow up. Theater was home and comfort for me.Everything after leaving the stage and entering screen acting was a challenge because this is unfamiliar territory. Here, you’re really on your own. It doesn’t matter who you associate with – you may get a chance, but survival depends entirely on your merit.That’s why while I feel excited, I also feel constant anxiety. Will I continue to get opportunities? Will I always deliver? Will I be able to adapt to the rules of acting on screen? Those fears exist.So this moment makes me very happy, but it also keeps me very alert about what comes next.
Are you looking for more validation from the audience, industry or directors?
As actors and directors, we are ultimately creating work for the audience, so their response is very important. If your audience doesn’t connect with you, you’re nothing. Their comments are a very valid form of criticism and should be taken seriouslyBut during the filming process, the director becomes everything.
My instincts and the director’s vision are the most important at that stage because the director understands the whole picture. They know where my character fits into the larger universe of the movie.At the same time, audience feedback is equally important because that is ultimately who we perform for, even in theatre.The paradox of acting is that no matter what instructions the director gives, the actor ultimately bears the burden of performing.
No one will ask after a bad performance if the director asked you to do it this way. So while I completely follow the director’s vision, I also believe that actors should always listen to the audience’s feedback carefully.
Your first film is already attached to Cannes. How are you processing that? Is there pressure?
No, not pressure at all. The trailer is out there, so honestly, nothing but good can come of it.For us, it feels like a little pat on the back – an acknowledgment that we worked hard and that someone appreciated the work enough to send it to such a prestigious platform.The film has great heritage value as it is supported by the Telangana Tourism Corporation and revolves around the famous Taramati Baradari. Most visitors don’t even know who Taramati is or the importance of her music and story during the Sultan’s reign. The film tries to preserve and tell that story.When we made the film, no one was thinking about Cannes or prestigious screenings. We were simply trying to make the best movie possible.
I was trying to act the best I could, and they were trying to tell a meaningful story.Of course, it’s a pinch-me moment. But after May 18, once the trailer is finished, we’ll all be back to work. Most of us will return to the theater and go on with our lives.However, I must admit that I never imagined that I would see my face on a screen associated with such a prestigious platform. Although my father is part of the industry, However, I never dreamed of anything like this because he and I always focused only on the process, not the result.This experience taught me that in this profession, anything can happen at any time. Life can change completely when you least expect it.
How did your father react to your first film and this moment?
I think he’s as happy as if he himself were going there.He’s usually a very quiet person, and honestly, I am too. But the last time I saw him this happy was when I got on stage for the first time, and before that when I scored well in my 10th grade exams.This time, he feels really thrilled. And for me, the real “pee” moment is seeing my parents so happy.Imagine someone who has spent over 50 years in the industry watching their child follow the same path and finally achieve something meaningful. That joy is indescribable.So far, his biggest piece of advice to me is to be patient and not worry about getting a job – even though I get very anxious. When I sit at home with no acting work, I get anxious. But he always tells me: “Be patient, he will come.”I think this moment feels like a shared success for both of us.
Honestly, I’m happier to see my 78-year-old father jumping for joy than I am to release the trailer itself.
Did your father help you professionally during this project or while you were trying to enter the industry?
There are two sides to this.First, while trying to find work – yes, he tried to help me, but honestly it didn’t work out that way. Whenever I asked him how he entered the industry, his answer was simple: “Through screen tests.” This is the norm today.People always ask why I don’t act or star in projects because my father works in the industry, but I don’t think it works that way anymore – at least not for us.I got Chand Tara because the director saw one of my performances in a play written by legendary Marathi writer BL Deshpande. This led to a screen test and eventually the role.We’ve tried to get closer to the industry, and frankly we’ve failed miserably at times. The industry has changed a lot. You’re pretty much on your own.My father would often tell me not to put 100% of myself into just acting. He advised me to divide my focus into 50% acting and 50% artistic skill.
I’m also a professional graphic designer, so he always encouraged me to maintain this technical support.He strongly believes that this industry is volatile and survival is important. We belong to a very middle class family and have seen both very difficult and very successful periods in life.In 2002, my father had an accident while performing on stage, but he continued performing despite being unable to move.
After that, we went through tough times financially because in this industry, if you are not physically fit and active, work can suddenly stop.We really had days where we had to worry about how we were going to manage financially. That’s why he always says that you should never let your bank balance collapse and you should always have another skill you can rely on.I’m grateful for this advice because I haven’t stopped working completely.
Whether I’m eating, designing or acting now, my creative energy has always remained active.As for acting direction, I constantly ask for his opinion, sometimes even without his permission. Whenever I feel confused or overly critical, I check in with him. I feel very lucky to have what is essentially an institution at home.For this project specifically, the one thing he kept telling me was, “Believe in yourself.”
Since I only had four days to prepare, I completely lost confidence. He even attacked me at one point and said, “You can’t keep losing confidence every now and then. Just believe in yourself and do it. Do you want to do the film or not? Do you want to play the lead or not? Just go and do it. That was the only advice I got. But I always run through every script he has written, always, to understand his input because people like him are institutions.”On the sets, I also had Mohan Agashe sir. Join me on day three of filming. The first two days were difficult and I was very confused. But the minute he came on set, suddenly I had all my answers. Just a line or two of exchange with him and I understood what I was missing, and why I wasn’t doing certain things.
That’s why people like them are called institutions. They have so much experience that just talking to them gives you clarity.
All you have to do is watch Mr. Mohan Agashe’s acting and you will understand everything. He is an amazing force of acting. Looking at him, you feel like there are miles to go before you can reach even a small fraction of what he has achieved.
Growing up, was your father a strict parent or a quiet observer?
My father was very neutral. He was very strict with my brothers, but I was born about 10 or 11 years after them, so things were different with me.People assume I must be spoiled. Maybe a little when I was a kid, but not excessively.
He has always been very helpful with me.I believe that parents are as old as their children. Before children are born, they are just husband and wife. So, when you’re 20, they’re also 20-year-old parents in that sense – they’re learning too.By the time I was born, my father was about 55 and my mother was about 40, so they had already matured a lot. As I got older, especially in my early twenties, I became more cooperative with them.
They will ask for my suggestions and opinions.I really bow to my dad for being so flexible. Even after he was over seventy, he could become stubborn or stubborn, but he remained open and cooperative. He would ask me, “Do you think we can make this show? Can we do this together?”Honestly, he’s become more of a sidekick to me than just a father because I’ve shared the theater space with him for 15 years. We’ve done a lot of shows together.
After my teenage years, he stopped being just a “dad” and became my co-actor.Even our fights are about theatre, organisation, and economics of production – that is our antagonism and also our friendship.Now I am also solely responsible for taking care of my parents as they are getting older. So the relationship developed further. I’ve become a parent in so many ways now.
Maybe he started to believe in you more over the years?
Yes, of course. Earlier, when he advised me not to rely entirely on acting, it was out of practicality.
He always said I should have a backup because we saw the struggle firsthand as a family. We’ve had terrible days and very good days too.Earlier, I never considered myself an actor because I wasn’t giving myself fully to it. I only thought of myself as a stagehand or theater director, and I was proud of it.But when I finally started to believe that I could actually act on screen and really wanted to pursue it, that’s when I started saying to myself: “I’m 100% an actor.
I have 15 years of training, what will I be after all this? – That’s when he started to believe in me more deeply.The moment I showed confidence, he backed her up with even more confidence. Whenever I felt weak or unsure, he would step in and reassure me. So I guess I had to take the first step so he could take the next step. Again, it’s a great collaboration between us.
You talked about the good days and bad days for your family. How did you and your father deal with that? Stages? What did you learn from them?
In every actor’s home, if there is work, it’s a good day.
If there is no work, it is a bad day. When an actor gets work, the entire family becomes happy. Everyone becomes their secretary, assistant, everything. We also work this way.My mother played a big role as well. Without her support, I don’t think many of us would have survived theatrical life.My father has always remained very grounded, even through terrible financial phases. After the stage accident, we experienced very difficult times.
But he never panicked because he always believed that the good days would return. I think that comes with experience.I, on the other hand, feel very anxious. We’ve seen days where my brother had to take a call center job just so we could make ends meet. We are not a prosperous star family. We are very middle class.These experiences taught me that good days and bad days are the most consistent characteristic of this industry. One day you have work, another day you don’t.
One day you’re in the news for good reasons, and another day for bad reasons.So the best thing you can do is not to obsess over the results. Just keep your head down and keep working. This is the advice I constantly give myself. Whether it’s a big or small project, just work. Don’t keep looking left and right. My dad always says: Put your blinders on and keep going.One thing we practice as a family is complete detachment from outcomes.
In the theatre, sometimes there are hardly any ticket sales because there is a cricket match going on. But even then, legends like Sulabha Arya or Rakesh Bedi always say that even if there is just one person in the audience, we should perform with the same sincerity.I think the same principle applies to screen acting as well. Forget the score and give a performance that is honest even to the viewer watching you.
How did you prepare for a character like Taramati in your film?
In fact, people don’t know much about Taramati, which is exactly why the film was made.
There is very little information available about them. Some records say that Taramati and Premamati were singers, others say dancers. History has not documented them properly.Director Muhammad Ali Baig has always focused on women-centric theater and wanted to preserve the theater culture of Hyderabad through this story.Personally, I had very little time to prepare. So I relied completely on the director and writer because they knew the world they were creating.
My only focus was getting the vibes right.The only thing people from centuries ago have in common with us today is emotion. That was my anchor – the idea and feeling behind each line.In just four or five days, what more can I do? Of course, I prepared during exams as well, but even that was limited.The production itself had budget constraints because they were shooting at heritage and government sites with limited permissions and time.
So, considering everything, my only responsibility was to understand the emotional meaning behind the lines.The costumes, the look, the kits – it was all from the team department. They transformed ordinary rooms into beautiful vintage spaces with very limited resources, and I was honestly shocked when I saw their precision.The hardest part was the Hyderabadi Urdu dialect as it is very different from standard Urdu.
Fortunately, dubbing helped us perfect the film later.So my preparation was entirely focused on my walk, emotions, lines, and subtext. The rest was their experience. I simply treated it like theater, just as the director advised me to do.
You are also doing an OTT project now, right?
Yes, coincidentally my first OTT project also happened around the same time. It’s called a pyramid scheme.The funny part is that the director came to see a play that my father and I were performing.
He saw me there and then approached me for the test.I can’t reveal too much due to NDA restrictions, but it’s a project from The Viral Fever for Amazon Prime Video. It’s my first online project, and interestingly, it also involves my father.It’s a small part, but it became our first film project together.
What was it like sharing screen space with your father as a daughter and an actor?
Honestly, I’ve already been through that for 15 years on stage. We’ve always been co-actors first.But yes, seeing the two of us sharing the screen space made my parents very happy.
It felt like another milestone achieved.When I was finally locked in after several rounds of testing, we were so happy that I couldn’t even explain it in words. We would discuss our call times, and prepare together for the location – it was a beautiful feeling.It was different because it was a new medium, but emotionally it felt very familiar because we had lived that experience together on stage for years.
You have also mentioned sharing the stage with Rakesh Bedi. And now after Dhurandhar, it is everywhere, with brands and media talking about it. How do you feel when you see someone from theater reach this position?
I think it’s well worth it. In fact, I feel like he should have gotten it sooner too.
Someone from the theater deserves this recognition. But I also think there’s a misconception that theater actors only do theater to become famous on screen. This is not true.He is a solid performer, and we are all thrilled that this is our IPTA family. The Indian People’s Theater Society includes people like Rakesh Bedi, Sulabha Arya, Akhilendra Mishra and many others whom I have been watching since childhood.I honestly feel like we wouldn’t even be half who we are if we didn’t see them perform.
A lot of acting is observation. We learned a lot from the exercises they had, which we were allowed to sit through.I feel like all these theater actors deserve bigger opportunities on screen. The only reason I say that is because screen reaches a much wider audience, while theater reaches a limited audience at one time. People who can’t come to the theater should see how amazing these actors are.I had previously spoken about Mohan Agashe – I exchanged just one line with him and was blown away.
These are people who have tremendous material and experience.
You grew up amidst all these myths, what was that experience like?
It was beautiful. I lived with that little cherry on the cake the whole time.The most common reaction I see from people – both police officers and ordinary people – is deep respect, because they grew up watching them. This is much more beautiful than empty stardom. There’s a difference between someone saying, “Oh my God, I saw you on TV,” and saying, “I grew up watching you.”I hear this kind of respect for Rakesh Bedi, Anjanji, Sulabha Arya and many others. These people were part of the nakad and theater culture.Thanks to them, I also got opportunities to interact with people like Kundan Shah and even screened a documentary that I had directed at one point.They are all people with deep roots. They value respect more than fame. And honestly, it sometimes makes me worry about whether I’ll be able to reach this level, because it’s a hard place to get to.
Do you feel pressure about carrying that legacy forward?
Honestly, I don’t think I can “carry on” their legacy. I can only work alongside him and try to get justice for him.They created their own place in a very different era and under very different circumstances. I don’t know if I can match that. I will just try to do my best and give it my all. That’s all I know.I definitely feel the pressure to earn that kind of respect. Being respected is much more difficult than just becoming famous.
It takes tremendous grit and determination, and I’ve seen those perform They work during illness, in difficult circumstances, and in everything.Sometimes I honestly feel like they are made of different materials. All of them.The pressure I feel is not about fame or getting a job. Even if I keep doing theater, I wonder if I can become even half as good an actor as them. Can I stand in front of them on stage and justify my presence there? And that pressure is always there.
What is a life lesson that has stayed with you while working with all these brave people?
They never give up.And I specifically mean theater actors. They are always ready to fall and get back up again. I never saw them give up, and I never saw them stay down.They’re all kind enough to offer advice when I need it, but the biggest lesson is that giving up simply isn’t in their dictionary. This kind of mental strength comes because they are all self-taught.Even today, if I am in doubt, I can take the text to my father and ask him.
But he had no one to go to. It did not come from FTII, NSD or any official institution. He built himself entirely on his own. This makes him very mentally strong. His confidence is unwavering.This is the lesson I learn from them – if you are doing your job honestly and honestly, there is no reason to stop.
What does the road ahead of you look like now?
I don’t know quite yet. But I know for sure that theater will always be a part of my life.At the moment, I work as the lead director of a combined department, so I know that I will continue presenting, directing and acting in plays and collaborating with young directors as well, which I have already started doing.As far as working on screen, I just wish I got more opportunities. I won’t give up, this is the biggest lesson I’ve learned.Whether the goals are big or small, I want more opportunities to practice this craft in this medium now. I spent 15 years working before I got here, and now I want the chance to be 15 on screen too.
