#KetchupTalks: Jaya Bhattacharya reflects on the process, the character, and the heart of the musical

In a chat with us Jaya Bhattacharya revisits the making of Kaneez and the creative process behind her role.

Few actors move between screen and stage with the kind of ease and emotional command that Jaya Bhattacharya does. Known for her acclaimed performances in Delhi Crime and Thapki, and for creating some of Indian television’s most memorable antagonists, including the iconic Payal in Kyunki Saas Bhi Kabhi Bahu Thi, Jaya has long been celebrated for her intensity and remarkable screen presence.

Jaya is not only a celebrated screen actor but also a seasoned theatre performer, with years of experience on stage that have honed her timing, presence, and ability to inhabit complex characters. She now brings this expertise to her latest project, ‘Kaneez: A Musical Love Story’, a Broadway-style production that combines grand spectacle with emotional storytelling. As Zeenat Aapa, she brings warmth, resilience, authority, and an anchoring gravitas that shapes the entire narrative.

In this conversation, Jaya opens up about preparing for such a layered character, the experience of building Kaneez from the ground up, what she hopes audiences take away from this powerful production, and much more.

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What was the first thing about Kaneez that genuinely pulled you in? Was it the story, the emotional tone, or something specific about the character you are playing?

Actually, I have taken a small break from what you could call the mundane. I have been working continuously, especially because I run my NGO, Thank You Earth, which is an animal-focused medical centre. That work keeps me busy in the best way.

So I told myself, let Delhi Crime come out first, and then Gustaakh Ishq is also coming, so I felt it was the right moment to take a short break, maybe a month or two, just enough time to regroup and see what lies ahead. And during that time, Kaneez came to me. I had not done a play in ages, it truly felt like eons, so I thought, why not? Theatre gives you the space and the discipline to refine yourself. With every rehearsal you discover something new, you understand the character a little better, you find more layers. It is a process that never really ends when you think about it.

So I said yes to this musical, something I had never attempted before. After watching Mughal-e-Azam and another musical, I remember thinking how incredible it would be to be part of something like that. In a way, you could say I manifested it.

Every love story has a wound at its centre. What do you think is the emotional wound that drives the story of Kaneez?

The society we live in is steeped in bias and prejudice. Many laws and systems seem to work in favour of the wealthy, the strong, and the powerful, while the weak and the downtrodden are left fighting for the bare minimum. Their joy, dignity, and means of happiness are often taken away or misused by the very people who should be upholding equality.

That, to me, is the real wound of our society. It is deep, it is painful, and it desperately needs healing. Until we address this imbalance and remove the structures that oppress, no individual can truly thrive. And our country needs this healing now more than ever.

In that sense, the play feels incredibly timely. It mirrors today’s realities and reminds us that change is not just necessary, it is urgent.

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A post shared by Jayaa Bhatacharrya (@jaya.bhattacharya)

What was the most challenging aspect of adapting yourself to a live, Broadway-style production, whether it was the timing, the voice work, the choreography, the emotional pacing, or the technical cues?

I have done many plays even before coming to Mumbai, so I am quite familiar with how theatre works. Because of that, the process itself was never really a challenge. What did become difficult was the dance portion, since I hurt my foot. I actually fractured my toe during the workshop period, and managing the movement after that has been tough, and honestly it still is. But aside from that, everything else felt quite natural.

Musicals rely heavily on spectacle. Which staging or design element of Kaneez, such as the music, the lighting, the costumes, or the scale, deepened your performance the most?

Actually, the music has enhanced the entire experience and given us tremendous support. The background score and the songs have added so much depth to everything we were doing. And once the costumes and lighting came together, the performances lifted even more. It has all come together in a way that has energised us many times over.

The play is said to pay tribute to Meena Kumari’s legacy. In what moments of Kaneez did you personally feel her presence, either stylistically or emotionally?

Meena Kumari ji and Smita Patil ji have always been my favourite actors. When I truly began acting, when I started understanding that performance is so much more than delivering dialogues or shedding tears with glycerine, I knew I had to study the greats. I sat down and watched all their films, one after the other, trying to learn from every gesture and every silence they carried.

Even today, the way I apply my lipstick is something I picked up from Smita Patil ji. I remember watching her play an actor in one of her films, and there was a moment where she applied her lipstick in a very particular way. It stayed with me, and I still do it exactly like that.

Half of the play is set against the world of Tawaifs and features Mujras, and in that context, I often think of Meena Kumari ji. What she brought to the screen, especially in roles with such emotional depth and grace, is something I truly doubt any of us can recreate. She was a class of her own.

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A post shared by Kaneez | Live Musical Theater (@kaneezthemusical)

What aspect of Kaneez feels culturally rooted to you, and what aspect feels boldly experimental?

Experimental theatre is very different, and I do not think we are experimenting with anything here. This is a beautiful story with meaningful messages for society and for every individual. There is so much to take away from it, and maybe even something we can absorb and apply in our own lives, if possible. I genuinely love what we are creating here. I truly do.

What do you hope the audience understands about the world of Kaneez that goes beyond its visual grandeur?

The takeaway for the audience should be a simple question. What does society truly need right now? I do not mean only love or romance. I am talking about respect and self-respect, both of which have depleted so drastically today. And of course, I hope people also develop a deeper appreciation for music, because music is the very foundation of this play. It carries beautiful compositions and has been brought to life by incredibly talented singers and composers. We are genuinely fortunate to have them on board, and I am truly grateful to be a part of Kaneez.

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