Death can affect us of the theatre in two different ways. On the one hand it provides the material for much of the drama on and through which we work.

The true actor uses it as a means to evoke emotion without himself being affected, no matter how much he may seem so. On the other hand, when it is real and concerns a fellow-thespian, it touches us in special ways over and above those normally occasioned. One of these is the profound sadness that never again shall we enjoy the deceased's own proficiency in the art we all love so dearly."Where be your gibes now? Your gambols?" asks Hamlet of the long-departed jester Yorick. It is now that sorrowfully we ask these questions of Rashpal.

I do not think that Rashpal was ever formally trained. What he came to know of stagecraft was purely from practical experience, the business of "getting up and trying it". It was thus that he developed his own brand of comedy which put him in demand by many groups and which had just begun to win him a reputation amongst audiences.

Apologetic
I adored his style. He was never a deliberate comic. Rather he won laughter for the faint but noticeable "bewilderment" which characterized his playing. It was as if he was never fully au fait with what was happening (though in reality he was, very much so!) and he gained many more laughs for often appearing mildly apologetic for his puzzlement. I recall once discussing his style with a connoisseur of cinema.

He reminds me of a cross between Buster Keaton and Danny Kaye," said he. True - but Rashpal had more than just Keaton or Kaye about him. He had Rashpal!

Another effect of an actor's death on theatre- folks is to remind them that, though they do not know each other and have different ideas about theatre, they belong to a great, if unseen fraternity.
Fitting So will it be with Rashpal Indeed even more so- Rashpal was one of those very few able to cross the cultural barriers which so demarcate our different forms of theatre. Indian theatre, Kenyan theatre, Western theatre - he raised laughs for and with them all. He belonged to them all.
It is fitting then that a special evening in appreciation of his memory will be held at the National Theatre next Sunday at 6p.m. Here is a wonderful chance for all of us, with our very different ways, to get together and salute a man who had only one way and that was for all. Off-stage Rashpal was a mild but sociable man, who never boasted of his talent. Like any artist he welcomed praise for his work but he was often puzzled by it. He once observed to me: "I just love the stage - any stage! If people love what 1 do, why, I can only love them in return." That was typical of the simple modesty of one who sought to be friends with everyone.

When I go to the National Theatre on Sunday, I shall be full of memories of moments when he had me laughing uncontrollably. My mind will be sad but my heart will be laughing. That, I am sure, is how Rashpal would wish it.

At the time of his departure Rashpal was the Chairperson of "Natak". Some of his major roles were in:

1. Ramesh Mehta's "Undersecretary".2. Ramesh Mehta's "Khuli Baat" 3. Ramesh Mehta's "Roti aur Bet" 4. "Saray-ke-Bahar" 5. Shiv Batalvi's "Loona" 6. Waris Shah's "Heer Ranjha" 7. Allaudin Qureshi's "Chachi O Chachi" 8. A. Qureshi's "Parchhayian" 9. "Anarkali" 10. Shahnawaz Zaidi's "Woh Manzilen Woh Raastey" 11. Shanawaz/Allaudin's "Do Duni Paanch" 12. Shahnawaz's "Aankh Micholi" 13. Balwant Gargi's "Kanak di Balli" 14. Allaudin's "Aashiana" 15 Swinder Gulatis "Paisa paisa Paisa". And many TV skits and shows.

This article is from Sikh Heritage