The homeopathic doctor's passion and obsession for the relegated-to-the-background art form has ensured its longevity. As a child, Vaidya was brought up in an environment of music. ``But it is the antaspurthi (inner zeal) which carried my enthusiasm forward,''says the singer-actress.

The glorious and vibrant musical theatre tradition in the State has survived because of its inherent richness. Vishnudas Bhave, Annasaheb Kirloskar, Pandit Bhaskarbua Bakhale, Balgandharva, Keshavrao Bhonsle, Deenanath Mangeshkar and other illustrious personalities created and nurtured the style, which has lasted 125 years. ``And it has been preserved in its original form, because that is the way it still appeals to people.''

The natak is characterised by intricate and colourful backdrops of lush gardens, temples or palaces and vivid costumes.

``Experiments have been done to give the dramas and its language a contemporary touch, but these have failed as the themes, styles and language are rooted in tradition. It is like doing dhyan. There is a tried-and-tested method which works and so with the sangeet natak - natya sangeet has to be presented in the way it was created,'' says Vaidya.

Vaidya is the senior disciple of Pandit T D Janorikar (Bhendi Bazar gharana). She essayed her first lead role of Shakuntala when she was barely 17 and went on to play many memorable roles. ``I recall playing Rukmini in Swayamvar. It was a challenging and satisfying role, considered the kohinoor in the sangeet rangbhoomi. And my lead role in Swarsamradhini, loosely based on Pygmalion afforded me a wide musical and acting range,'' she says.

Vaidya has founded the Shivranjani Natya Ganga in Pune, with the help of Govindrao Date, which is treading on the footsteps of the stalwarts. The theatre group has performed over 100 shows all over India and then crossed the seas. In her personal capacity, Vaidya had travelled to Europe, the Far East, and the USA. Six months ago, the troupe was invited to perform in 22 cities in America. A milestone event in the history of Marathi musical theatre.

Vaidya, in her bid to uphold the style, has also released a twin-volume CD, with popular songs from musical dramas like Swayamvar, Subhadra, Sanshaykallol, Mritchhakatik and Manapaman. It is titled Lene Rajhansache, and released on the occasion of the 111th birth anniversary of the late Narayan Shripad Rajhansa alias Balgandharva.

Sachin Jambhekar's business-like look belies the existence of a musician within. He wears a neat shirt, uncreased trousers and carries a mobile phone. The mobile is explained easily enough - he works as an office assistant at the Pune Telecom. But, it is his childhood passion in music that rules his jet-set life today.

``My father used to sing well, though he was not a performer. He had a collection of good music which I heard often and picked up from,'' says Jambhekar. In his teens, he started learning the harmonium, keyboard and synthesiser. In college, prizes came his way and the orchestra Swarankit invited him, where along with Girish Rao, founder of the orchestra, Jambhekar got a chance to accompany the orchestra for songs with social messages. He also worked with Ashok Saraf of Melody Makers and Sudhir Gadgil of Chaitraban. Jambhekar also has his bosses at Pune Telecom, Shrinivas Rasal and Sakhyahari Chandekar and wife Anjali to thank for their able support.

Jhambekar's talent lies in music arrangement. So what exactly is music arrangement? ``The lyrics of the songs are set to music by the music director. However, in between the lyrics, the passages of music have to be ``arranged.'' And this requires technical knowledge as well as creativity,'' says Jambhekar. ``It's like decorating a house, you can't live within just four walls, it requires decoration which gives it its character. So depending on the mood of the song and it's tempo, the music is arranged accordingly,'' he explains.

Jambhekar has now made a name for himself in this field, with renowned singers inviting him for their shows in India and abroad. He arranges music for both Lata Mangeshkar and Asha Bhonsle at their prestigious shows. Which leads to the question of dealing with the temperamental differences of the famous siblings. ``No comments,'' is Jambekhar's smiling rejoinder. ``Their styles are so different, they are both great. Yes, the accompanying style for the two has to be different, there's no comparison.''

Jambhekar was in San Hose, USA, recently, performing with Asha Bhonsle at the Brihan Maharashtra Mandal of America's convocation on July 4. Jambhekar also fondly remembers the first breakthrough concert with Ashabai in 1989, Nakshatranche Dene. ``Last year, I had accompanied Lata didi for her concert. And thereafter I went with Arun Date to Australia in June.'' Jambhekar also assists singers Anuradha Marathe and Mukund Phansalkar for their shows in India and abroad.

``The placement of the orchestra and its members and balance, besides the acoustics of the hall and sound systems are what one has to look into, when arranging music. It usually takes about 10 to 12 hours before the show,'' he says.With the serial boom on television, work has increased. He has also worked with music directors like Shridhar Phadke for some Marathi films. Among the projects for TV, he's excited about the serial Mahashweta, for which he arranged music for Hridaynath Mangeshkar - a highpoint in his career. With noise passing off as music , Jambhekar still sees hope in music directors Vishal Bharadwaj and Rahul Ghorpade. Here's more power to their music.