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Of dreams and nostalgia
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"Rural Phantasy" was an effective amalgam of music, dance and dialogue
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SIMPLE CHOREOGRAPHY From "Rural Phantasy" PHOTO: R. RAGU
Iyal, Isai, Natakam, the three limbs of Tamil literature blended effectively in the staging of "Rural Phantasy". This musical, a joint production of The Madras Players and Just Us Repertory, was staged for three consecutive days, March 10, 11 and 12, at the Museum Theatre, Egmore. Scripted and directed by Gowri Ramnarayan, the story is the English translation of Kalki Krishnamurthi's "Kanaiyazhiyin Kanavu." Combining the roles of a nationalist and social reformer, Kalki almost always used his pen to convey messages relevant to the times. An underlying current of humour and satire were also his trademarks. All these find substantial expression in "Rural Phantasy."
Kanaiyazhi, a village in Thanjavur District, tumbles out of its lethargy with the arrival of a pretty, sophisticated, educated girl from Tagore's Shantiniketan. She, Shakuntalai, the protagonist, is the harbinger of temporal but significant changes in the social milieu of Kanaiyazhi. Besotted with her, the educated but aimless youth of the village individually nurture dreams of marrying her. What they do not know was that she is an ardent nationalist and a married woman. In an effort to woo her, every wish of hers becomes a command for them. Thus when Shakuntalai expresses her anguish at the litter-strewn streets of Kanaiyazhi, the village overnight wears a fresh, spruced-up look. Her agitation over the plight of women in the village, illiterate, oppressed and tortured by their drunken husbands, brings about a dramatic change of heart in the enamoured youngsters. A ban on liquor, a new perspective on child marriage and women's education, inculcation of the nationalist spirit are the positive results of Shakuntalai's visit. The twist in the story comes with the arrival of her husband and the family's departure from the village. The final scene shows Kanaiyazhi returning to its customary ways but not before it has been implanted with a small seed of change.
Classical repertoire
The repertoire of songs, all sung in classical mode, is drawn predominantly from Subramania Bharati. But in addition, one gets to hear Bankim Chandra Chatterji's `Bande Mataram', songs from yesteryear classical film Shakuntalai, `Shanti Nilava Vendum' popularised by DKP, as also a few other lilting melodies. The rich musical fare, offered by the team of musicians — T. M. Krishna, Sangita Sivakumar, Amrita Murali and Arun Prakash — greatly enhance the production value and can be said to be the show's highlight. Special mention must be made of Krishna's beautiful imitation of GNB's song from the film Shakuntalai, `Manamohananga Anange', and Sangita's rendition of Bharati's `Mangiathor Nilavinile.' The stage prop, a crescent moon, used in that scene, succeeds in creating a beautiful visual. The effective use of the simple Bilahari swarajati `Ra ra Venugopala' that has Kannaiyazhi's youth swaying and sweeping the streets is a charming blend of music and dance and reminds one of the musicals of Disney. Dance choreography by Lasya Narasimhachari and Gowri is simple and effective. The acting is good. Some of the actors even play two or three roles with simple changes in attire. Pillaiyar's costume was cutely innovative and suggestive. Stage props are true to the period. Attention to detail is evident in all aspects that include the use of pittalai (brass) tumblers to serve coffee and the old Congress flag.
On the whole, this enjoyable amalgam evokes memories of Kalki. Editing of the sutradhar's narration, in the opening scenes, would have contributed towards making the show crisper.
LAKSHMI DEVNATH
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