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As a ‘dance theatre narrative,’ the production contained dialogue, written in poetic Tamil and delivered with traditional theatricality by the dancers.

Photos: N. Sridharan

Extravaganza: Sheejith Krishna’s choreography stood out for stunning nritta.

Made into cinema and television versions, the complicated story set in the reign of France’s ‘Sun King’ Louis XIV, has been given even more complicated twists and turns by the celluloid merchants.

If Dumas nonchalantly wielded artistic licence with history, the adapters have taken similar liberties with his plot. And on Wednesday, Kalakshetra Foundation, in a tradition-bending endeavour in more ways than one, chose to present “Masquerade — Man in the Iron Mask” as its new production for the year.

Concept, direction and choreography were by Sheejith Krishna, a young staff member and alumnus of Kalakshetra who has made a mark as an adventurous choreographer.

As the work of a young choreographer, his ambitious project, meticulously carried through and marked by stupendous dancing, would have merited an indulgent assessment. But, labelled as the one Kalakshetra new production for the season, it takes on a greater responsibility.

This is a little unfair on Sheejith and his team, who deserve the highest praise for their hard work. So, without quarrelling with his talents as an individual, one is forced to ask whether all potential choreographers between Rukmini Devi Arundale and him have disappeared.

At the outset, the dancing was of the highest standards. Brilliant, stunning, one runs out of adjectives to describe its excellence.

As a ‘dance theatre narrative,’ the production contained dialogue, written in poetic Tamil by the well known Professor Raghuraman and delivered with traditional theatricality by the dancers.

The breath control of the dancers was commendable, projecting steady voices after vigorous dancing. They also displayed acting skills, especially Sheejith, who did the ‘double role’ of Louis XIV and his identical twin.

Nidheesh Kumar, Shijith Nambiar and Hari Padman, playing Aramis, Athos and Porthos respectively, set the tone for the virtuoso show.

But wonderful dancing cannot sustain a show that is not merely a dance production. As a theatre narrative, its pace was intermittently blocked with a barrage of nritta.

At times it was required and refreshing. As at the first appearance of the king, with dancers performing in attractive diagonals and giving the abstract effect of a red carpet welcome. But as the formations and adavus were repeated — at breakneck speed and niftily executed at that — again and again, tedium set in. Particularly repetitive were the ‘dhi dhi tais’ and the ‘tat tai tam dhi dhi tais.’

Using abstract dance movements to convey moods instead of abhinaya (as in masrina nritta) was effective, but repetition made it predictable. One of the most effective tools of choreography is the judicious use of surprise and repetition.

The recorded soundtrack, composed by Jyothismathi, featured well known Carnatic musicians such as O.S. Arun, Deepu Nair, Srikanth, and a number of others, besides Western music inputs (strings) from the Madras Chamber Orchestra.

It gave the impression of a cross between film soundtrack, Western classical, Carnatic and light music (mellisai).

Light music predominated, giving the entire show a non-classical dimension. But if it is meant as an extravaganza, and not one of the deep productions Kalakshetra is till now known for, it should be shortened drastically.

Costumes of the men initially gave the impression of riding breeches and coats, but later lapsed into angarakha and Jodhpuri pyjamas. The women were dressed throughout in ghagras or churidar-kurtas. One was not quite sure which way the production was headed in that respect.

The set and light design were impressive, with scaffolding for the prison on the one side, the throne of the king erected on the other, the apron stage used for the main action and occasional use of the upper balcony as well. No doubt it was a brilliant team effort.

One wonders if Sheejith based the storyline on the novel by Dumas or its various film versions — particularly since the character of Christine, important to this as well as the 1998 film starring Leonardo di Caprio, is called Louise de la Vallière in the book. But the stage production moves away from the tragic denouement of the film and creates its own happy ending. When inspired by a famous work, some clarifications remain to be made.

Acknowledging each small and big contributor to the production with a garland was a welcome change brought about by the new director.

One hopes this becomes the new tradition of the institution, as also the encouragement of new creative work.

As a ‘dance theatre narrative,’ the production contained dialogue, written in poetic Tamil and delivered with traditional theatricality by the dancers.

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