Candice Newnes is the main female character in the Solskritmusical “ROARRR: A King Lost in Time.” She plays the character Mayika, which is based on Nala from the “Lion King.” Newnes is a talented actor and dancer, and her passion for the performing arts began when she was just a child.
Newnes began her journey to the stage in Bombay and Dubai. In elementary school she “jived” with her family to music on the radio, and in high school she formed her own dance group with friends. The group would go on to perform for Sony promotions, and she would even grace the MTV Asia stage with her performance of the boy-band classic “Bye, Bye, Bye.”
Although Newnes was passionate about dancing, her parents were passionate about her studies.
As a child I was not discouraged to dance, by my parents. However, I wasn’t allowed to take other dance classes to satisfy my interest. ‘Studies come first,’ is something I always heard at home,” Newnes said. “I regret not learning dance in a more serious capacity as a child.”
At the age of 17 Newness immigrated to the U.S. to attend Notre Dame University in California. The pull to dance was not left behind. She began to experiment with different styles of dancing such as, Cuban salsa and Bollywood.
The budding dance sensation would go on to find Solskrit in San Francisco. Solskrit is an Aditya Patel company, which produces Bollywood musical stage performances. The San Francisco based company is described as “the biggest Bollywood musical company in the U.S.,” according to their website.
Newnes began with Solskrit in their initial phases with their pioneer program “Gurus of Dance.”
Four years ago through the audition process, I began dancing as a ‘gSquad Professional Dancer,’ with Solskrit. This is when I started to learn Bollywood dance for the first time. It was new and challenging, which is what sparked my interest,” Newnes said.
Recently, Newnes has taken on more responsibility within Solskrit. Along with performing in the company’s latest production “ROARRR: A King Lost in Time,” she is the lead costume designer and partakes in the script team.
It definitely kept me on my toes at all times, with dance rehearsals, acting rehearsals and all that goes into costume coordination,” she added.
The inspiration for the story “ROARRR” is based on comes from the quintessential timeless classic “The Lion King.” Remaking this story into a Bollywood musical was part Newnes’s ambition, but it was more so her task to elevate the story through costume creation.
There was a lot to take into consideration, varying dance styles, what each dance was meant to portray, the scene it was part of and the space for creativity and fusion,” said Newness. “It was fun designing the dance costumes, I enjoyed taking the liberty of not being limited to the traditional dance costume styles. The actor’s armors are designed by an artist in India. The coordination with our tailors in India was the greatest challenge.”
Her enthusiasm for “ROARRR” comes from the special way Newnes relates to the character Mayika she portrays. As a child Newnes did not fit into the mold of “girly-girl,” she loved to be outdoors competing with her cousins and roughing it out.
I was ready to play pranks on teachers and paid the consequences for it proudly. As an adult, I find myself quite vigilant for “doing the right thing” and looking out for the needs of the majority,” said Newnes.
Her outlook is paralleled by the character Mayika’s viewpoint on life. Within the play Mayika is the general’s daughter, she is a strong, intelligent, independent and childhood friend of the Prince Mahaveer. Newnes’s character similar to the character she is based from Nala must find the king-to-be and bring him home to save his people.
Newnes plays her part with fervor and vigor. She lights up the stage and inspires us all to follow our dreams. Her advice to BG readers who may be looking to get into the performing arts is to simple, “follow your heart and do what makes you happy.”
When making difficult decisions, I always ask myself if I would regret my decision. If not, then I jump with both feet. That’s my advice — do what makes you happy, even if getting there is scary, vulnerable, anxiety provoking and the most difficult thing you’d ever do. It’s going to be worth it to look back and see what you’ve accomplished,” added Newnes.
The multitalented Newnes leaves us all with final thought by Mark Twain:
Twenty years from now, you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the winds in your sails. Explore. Dream. Discover.”
About Solskrit:
Solskrit – a San Francisco Bay Area company focuses on producing extravagant high quality Bollywood Musical productions. Solskrit is the new venture from the experienced team of Gurus of Dance who are very well known for producing 8 sold out Bollywood Musicals over the past 3 years.
ROARRR premiered in the San Francisco Bay Area in March 2014, and will be back March 2015! If you are looking to be a part of the Bollywood musical, email talent@solskrit.com, or call (408) 874-6750. Auditions will be held on November 15!
Kamini Ramdeen is quite astonishing. She graduated from Saint John’s University with a B.A. in history, is best friends with Beyoncè, and has tea with MIA on the weekends. Maybe not that last part, but when she is not day-dreaming of ridiculously funny stories, and using her crafty clever humor to capture the hearts of millions, she is editing content and creating graphics for Brown Girl Magazine and India.com. She also strategizes SEO for kicks. Follow Kamini on Twitter for her daily observations of the wonderfully bizarre City of New York.
March 20, 2023March 21, 2023 4min readBy Nida Hasan
If you are a South Asian, born in the ’80s or the early ’90s, chances are your ideas of love and romance are heavily influenced by Hindi films — that first gaze, the secret love notes, that accidental meeting somewhere in Europe, over-the-top gestures and dancing around trees. While reality may have been far from what was promised on reel, you still can’t stop pining over a hopeless romantic, with chocolate boy looks, chasing you across the earth and many universes; in the life here and the ones after. Somewhere deep down, you still dream of that possibility despite your husband sitting and sipping his morning coffee right next to you. And much of the credit for weaving this dreamland, that we can’t resist happily sliding into, goes to the legendary Yash Chopra. Award-winning filmmaker Smriti Mundhra’s docu-series, “The Romantics,” that released on Netflix on February 14, chronicles Chopra’s prolific career; offering an illuminating look into the highs and lows of his journey, his unblemished vision for Hindi cinema and sheer love for filmmaking.
I wanted to look at Indian cinema through the lens of it being a major contributor to the global cinema canon and Yash Chopra seemed like the perfect lens to explore that because of the longevity of his career and the fact that he had worked across so many different genres. His films, for so many of us, defined what Hindi cinema is.
— Smriti Mundhra
As “The Romantics” unveils, in a mere episode — a challenging feat in itself — Chopra did experiment with multiple genres as a budding filmmaker, initially under the shadows of his elder brother B.R. Chopra. From the religiously sensitive “Dharamputra” and the trendsetting “Waqt” to the action-packed and iconic “Deewaar.” It wasn’t until later on in his career that he set a precedent for a Hindi film having a wholly romantic narrative; though “Waqt” did offer the perfect glimpse into what would go on to become Chopra’s cinematic imprint. And then came “Chandni” which ushered in a new era for Hindi cinema; defying the formulaic approach to box office success and making love stories the golden goose.
In the words of more than 30 famous faces, a host of archival videos and interviews, and personal anecdotes, audiences get an extensive insight into the life and career of Yash Chopra and the evolution of his vision through the business acumen and genius of his polar opposite son and a famous recluse, Aditya Chopra. “The Romantics” is not a fancy portrait of a legendary filmmaker but an exploration of what goes into making a successful film family and a path-breaking production house. As viewers, we not only get a peek into the making of a fantasy creator but also learn of the many failures, hurdles and uncertainties that the business of filmmaking comes packaged in, the impact of socio-political shifts on the kind of content being produced and demanded, and just how much control we have as an audience over the fate of the film and the filmmaker.
For both the uninitiated and fanatics, there are some interesting revelations like Shah Rukh Khan’s lifelong desire to become an action hero as opposed to a romantic one and the creative conflict between Aditya Chopra and his father Yash Chopra on the sets of “Dilwale Dulhania Le Jaayenge” — a project that, surprisingly, did not seem too promising to the latter. Mundhra penetrates deep into the family’s history and industry relationships evoking some really candid conversations; almost as if these celebs were eagerly waiting for their moment to speak. With one appraising interview after the other, it’s a panegyric that does border on being a tad tedious but there is enough depth and fodder in there to keep one hooked. Kudos to Mundhra for managing to achieve cohesion despite there being more than enough material to chew on. In the process of bringing this project to life, Mundhra also ends up achieving a number of milestones: one that the series features the last of actor Rishi Kapoor’s interviews and two, it brings Aditya Chopra, who, it appears, can talk a blue streak contrary to popular belief, to the front of the camera after almost two decades. The moment when he puts the nepotism debate to rest by referring to his brother’s catastrophic attempt at acting is quite the show-stealer.
At some point during the four-episode series, you might question if it’s fair to credit the Yash Raj family for being the only real changemakers of the Hindi film industry and for picking up the baton to get Hindi cinema the global recognition that it has. But then there is no denying the Chopra clan’s body of work, their ability to understand what pleases the crowd and their commitment towards growth and progress amidst changing times and technology — Yash Raj Studios is in fact the only privately held and one of the biggest, state-of-the-art film studios in India. Chopra’s career and legacy are in no way under-lit that Mundhra can claim to throw new light on with “The Romantics.” But what she really has on offer here are sheer nostalgia, some fascinating discoveries and an ode to a cinephile and his art with a bit of fan service.
In an interview with Brown Girl Magazine, Mundhra discusses why it was so important for Chopra to be the subject of her docu-series, her own learnings during the series’ research and creative process and her accomplishment of getting Aditya Chopra to talk, and that too, at length.
“Ghoomer,” R. Balki’s latest directorial venture, had its world premiere at the Indian Film Festival of Melbourne 2023 (IFFM), earlier this month, and the moment was nothing short of memorable. Lead actors Abhishek Bachchan, Saiyami Kher, and Angad Bedi, were present to unveil their labor of love to the world, and all three were left speechless at the reaction of the global audience; the film received a standing ovation on opening night, leaving the team extremely emotional — a feeling that Bachchan tells Brown Girl is one he cannot put into words.
“Ghoomer,” tells the story of Anina (played by Kher), an exceptional cricket player who loses her right hand in an accident. Downtrodden and with no will to live, Anina finds a mentor and coach in Padam Singh Sodhi (played by Bachchan), an insensitive and brash failed cricketer who helps her turn her life and career around; Anina also has the unwavering support of her husband, Jeet (played by Bedi). Sodhi teaches Anina unorthodox techniques to make her mark on the cricket ground once again. Enter, ghoomer, a new style of bowling.
Balki checks all the boxes with this feature — his protagonist is a female athlete, the film is his way of giving back to cricket (a new form of delivery), and he highlights the idea that nothing is impossible for paraplegic athletes. The heart of Balki’s film is in the right place — Kher mentions that the film is meant to be more of an inspirational movie and less of a sports-based movie. One can only imagine the impact that a film like this would have on an audience that’s hungry for meaningful cinema.
And, to chat more about “Ghoomer,” Brown Girl Magazine sat down with the stars of the show. Bachchan, Bedi, and Kher came together to talk about their inspiring characters, the filming journey, and how their film aspires to change the landscape of cricket and paraplegic athletes in the country. It was all that, with a side of samosas.
Take a look!
The featured image is courtesy of Sterling Global.
It’s always a flamboyant affair of colour, emotions and grandeur when Karan Johar directs a film, and his latest blockbuster “Rocky Aur Rani Ki Prem Kahani” is as K Jo as it gets. After recently being recognised at the British House of Parliament for 25 years as a filmmaker, Johar is back to doing what he does best — bringing together families and star-crossed lovers, but this time with a modern touch. He makes a decent attempt at showcasing progressive ideals and feminist issues while taking us on this family-friendly ride.
“Rocky Aur Rani Kii Prem Kahaani” is a larger-than-life film revolving around the love story of a boisterous Rocky (Ranveer Singh) from a wealthy Delhi family, and Rani (Alia Bhatt), a sharp journalist from a progressive Bengali household. And of course, despite belonging to completely different backgrounds and lives, our protagonists, in true Bollywood fashion, fall hopelessly in love through a string of slow-motion gazes, warm embraces and some truly breath-taking song sequences in Kashmir’s snowy mountains. They are then forced to face their opposing families which brings along the family drama in the second half of the film.
The plot is not the film’s strongest point — there’s no real surprise about what’s going to happen next, and yet the film doesn’t fail to keep audiences engaged and pack an emotional punch. This is down to its strong acting, witty dialogues and K Jo’s classic, beautiful cinematography.
Ranveer Singh sinks into the skin of his character with ease – not only does he make the hall burst into laughter with the help of perfectly-timed gags but he pulls off those dreamy gazes ,expected in K Jo’s heroes, to evoke that typical, fuzzy-feeling kind of Bollywood romance. Alia Bhatt’s intelligent and undefeated character is no less a pleasure to watch on screen — not only does she look breath-taking in every shot but her feminist dialogues earn claps and cheers from the audience as she brings a progressive touch to this family drama.
Albeit, while Bhatt’s dialogues do their best to steer this film to the reformist drama it hopes to be, some of Singh’s gags and monologues on cancel culture bring out bumps in the road. The film could have done better to reinforce its points on feminism and racism without using the groups it tries to support as the butt of jokes.
There is also a case to be made about how long these Punjabi and Bengali stereotypes can go on with often gawkish displays of Ranveer’s ‘dilwala-from-Delhi’ character among the overly-polished English from Rani’s Bengali family. But it is with the expertise of the supporting cast, that the film is able to get away with it. Jaya Bachchan in particular is as classy as ever on screen; the stern Dadi Ji holds her ground between the two lovers, while Dada Ji Dharmendra, and Thakuma Shabana Azmi, tug at our heartstrings showing that love truly is for all ages.
Saving the best to last, it is the film’s cinematography that makes the strongest case for audiences to flock to the cinema. The soul-stirring songs steal the show with their extravagant sets and powerful dance performances that treat the audiences to the much-awaited cinematic experience of a K Jo film. While audiences may already be familiar with the viral songs, “What Jhumka?” and “Tum Kya Mile“, it was the family-defying fight for love in “Dhindhora Baje Re” that really gave me goosebumps.
Overall, the film does exactly what it says on the tin and is a family entertainer with something for everyone. It will make you laugh, cry, and cringe at times, but nothing leaves you feeling as romantic as some old school Bollywood with a mix of new school humour, in true K Jo form.
Kamini Ramdeen is quite astonishing. She graduated from Saint John’s University with a B.A. in history, is best friends with Beyoncè, and has tea with MIA on the weekends. Maybe not that last part, but when she is not day-dreaming of ridiculously funny stories, and using her crafty clever humor to capture the hearts of millions, she is editing content and creating graphics for Brown Girl Magazine and India.com. She also strategizes SEO for kicks. Follow Kamini on Twitter for her daily observations of the wonderfully bizarre City of New York.
