A rainbow with young colours
NOVEL EXPERIMENTRangakishora's Poli Kitti is definitely Ekbal's best version of the play
Can one think of a more suitable name than Malebillu! (The Rainbow) for a children's theatre festival held during the monsoon season? One of the many imaginative programmes the National School of Drama Regional Resource Centre has come up with after Suresh Angalli took over as director, Malebillu turned out to be a roaring success this year too. Ravindra Kalakshetra remained packed to capacity on all four days of the festival, in spite of heavy rains. Though most of the artistes were children, the maturity and sophistication in their performance was quite stunning.
Five plays, including a Yakshagana were staged during the festival. K. Ramaiah's folk-based play Kage Kannu Iruve Bala, directed by Ramakrishna Beltur for Chowki Samskrutika Kendra, was a celebration of the might of smaller beings. Dr. Chandrashekara Kambara's well-known children's play Pushparani, directed by Malatesh Badigera for his group Bahuroopigalu was an attempt to sensitise children to their environment. Vijayanagara Bimba presented their most successful production Govina Hadu, a ballet based on an old children's poem which depicts the ultimate victory of truth. Yakshadegula, which has been training children in the art of Yakshagana, presented Veera Vrishasena (directed by Mohan Holla), an episode from the Mahabharatha, depicting young Vrishasena's battle with the mighty warrior, Arjuna. Ekbal Ahmed, who had directed T.P.Kailasam's Poli Kitti for Chowki Samskritika Kendra last year, was back with the same play this year too, but this time with a group of well trained, professional artistes, most of who are alumni of Ninasam Theatre Institute. These artistes are part of Rangayana's newest wing, Rangakishora, an exclusive children's theatre repertory funded by SIDA and Swedish ITI.
Superman of our times
Ekbal Ahmed's peculiar talent as director finds full expression in Poli Kitti, a play he has done over and over again with different age groups, using different kinds of gimmicks each time. This was one of the first plays he directed for Chinna Banna, a children's theatre repertory he founded. Written in 1920, Poli Kitti is a realistic comedy which revolves round the antics and aspirations of Kitti, a warm-hearted adolescent, who rises above caste and communal feelings. Though a Brahmin by birth, he has had the most unbrahminical upbringing and is endowed with extraordinary physical strength and intelligence. According to Ekbal he is our version of a `Superman', who takes the meek under his wing and risks his life to protect them. His unorthodox behaviour and contempt for conventional education have earned him the title of a `bad boy', but he is far more useful to the community than those who make a big show of charity. . A unique feature of the present production is the way Ekbal explores the concept of `psycho-physical theatre', translating all words and even thoughts into physical movement. Using mime and caricature, he manages to find apt visuals to express even Kailasam's highly verbal humour and since the agile Ninasam-trained actors are known for their clarity of speech as well, they achieve a fine balance between speech and action. (A quality which is sometimes missing in Ekbal's productions!)
Kailasam's wit and satire, accompanied by well-coordinated movement and lively music (Vasudev Ganger and Srinivas Bhat), endear the play to both children and adults. It is a pleasure to watch Jeevan Kumar Heggodu play Kitti. An actor of great promise, he seems to have an elastic body and an equally mobile face, great assets in a production of this kind. His seems to have a natural flair for comedy and a great sense of timing. He receives excellent support from the rest of the cast, and this is what makes the group scenes click! (Most of the scenes in the play are group scenes!) Both male and female artistes are clad in the same scout uniform and seem equally uninhibited in their use of body language. They slide into other characters with the same ease.
The fusing of Indian and western instruments goes well with Kailasam's use of modern, English-mixed Kannada. Ganger's rich voice and the choreographed movement bring out the humour and the melody of Kailasam songs. The twisted, colourful rope artistically draped on top, diagonally across the stage, lends it a peculiar charm, while the artistes fill the empty space below with their energetic, but graceful movement. The way the only piece of furniture used, a small stool, is integrated with the scout-master's costume adds to the humour of the scenes involving him.
Rangakishora's Poli Kitti is definitely Ekbal's best version of the play till date and the most innovative production of Kailasam one has seen.
LAXMI CHANDRASHEKAR
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