Where There is a Will by Mahesh Dattani

Mahesh Dattani’s Where There's a Will is a satirical and thought-provoking play that delves into the themes of control, wealth, and family dynamics. Through the central character, Hasmukh Mehta, Dattani explores the extent to which a person’s desire for power can shape the lives of their loved ones, even after death. The play is a clever commentary on patriarchal control and the ways in which individuals struggle with identity, self-worth, and independence within the framework of a dysfunctional family. Hasmukh’s death and the unveiling of his will set the stage for a story filled with personal revelations, conflicts, and eventual transformation.

The play opens with Hasmukh Mehta, a wealthy businessman, introducing himself as a strict father and husband who believes he knows what is best for everyone in his family. His son, Ajit, is portrayed as lazy and incompetent, unable to live up to his father’s expectations. Hasmukh continuously belittles Ajit, criticizing him for his lack of initiative in running the family business. Ajit’s wife, Preeti, is also shown as opportunistic and manipulative, subtly vying for her place in the family hierarchy. Meanwhile, Sonal, Hasmukh’s wife, is depicted as a passive and submissive character who has always lived under her husband’s shadow, adhering to his every demand without question.

Hasmukh’s desire for control is so overwhelming that even as he senses his death approaching, he takes steps to ensure that his influence remains intact. He creates a will that assigns the management of his wealth not to his family, but to an outsider, Kiran Jhaveri, whom none of the family members know. This decision shocks the family after his death, as they expected to inherit his wealth without restrictions. Kiran is revealed to be a woman with whom Hasmukh had a professional relationship, and he believed her to be the only one capable of enforcing his posthumous wishes. In his will, Hasmukh ensures that Ajit and Preeti cannot take control of the business or squander his wealth, as Kiran is appointed trustee to oversee the finances for the next 21 years.

When Kiran enters the Mehta household as the executor of Hasmukh’s will, the family is thrown into further disarray. Ajit and Preeti feel insulted by Hasmukh’s decision, while Sonal, who has been content with her submissive role, begins to question her relationship with her late husband. Kiran’s presence creates a shift in the family dynamics, as she begins to assert her authority in the house. Kiran’s character is intriguing because, although she was appointed to continue Hasmukh’s control, she subtly encourages the family members to confront their own issues and take responsibility for their lives. She becomes a catalyst for change, guiding them toward self-reflection and growth.

As the play unfolds, each character’s true nature and motivations are revealed. Ajit, who had always felt inadequate under his father’s criticism, must now prove himself in a business that he has never been allowed to manage independently. Preeti, who had pretended to be the dutiful daughter-in-law, is exposed as a cunning and materialistic woman who sought only financial security through the family’s wealth. Sonal, on the other hand, experiences an emotional awakening. For the first time, she begins to see that she had been living her entire life in Hasmukh’s shadow, never expressing her own thoughts or desires. Kiran, while initially viewed as an enemy by the family, helps Sonal find her voice and reclaim her individuality.

A key element of the play is the presence of Hasmukh’s ghost, which serves as a narrative device through which the audience continues to hear his thoughts even after his death. His ghostly presence allows us to understand his motivations more deeply—he genuinely believed that controlling his family, even from the grave, was in their best interest. However, as the play progresses, it becomes clear that Hasmukh’s desire for control was driven more by his own insecurities and need for power than by love or concern for his family. His ghost watches the unraveling of the family and Kiran’s influence, realizing that true change and freedom for his loved ones could only occur after his death.

By the end of the play, each family member experiences a transformation. Ajit learns to take responsibility for his actions, no longer relying on his father’s decisions to guide him. Preeti’s manipulative behavior is exposed, and she is forced to confront the consequences of her greed. Sonal, perhaps the most changed character, becomes more independent and self-aware, breaking free from the passive role she had played for so long. Kiran, the outsider, ultimately serves as both a disruptor and a healer, enabling the family to break away from Hasmukh’s control and forge their own paths.

In Where There's a Will, Mahesh Dattani brilliantly explores the dynamics of control, power, and personal identity within a family. Through Hasmukh Mehta’s overwhelming desire to control his family even after death, the play examines how patriarchal authority can suppress individual growth and expression. However, the story also shows that even in the midst of dysfunction, there is potential for transformation. The arrival of Kiran Jhaveri, combined with Hasmukh’s passing, becomes a turning point for the family, as they are forced to confront their own weaknesses and desires. In the end, Where There's a Will suggests that true freedom and individuality can only be achieved by breaking away from the oppressive control of others, whether it is through death, self-realization, or the guidance of someone willing to challenge the status quo.