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Play of music and drama
HARIPRIYA NAMBUDIRI
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An unabridged ‘Nalacharitham’ was performed by a galaxy of seasoned actors under the auspices of Kerala Natyotsavam.
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Tale of love: Kalamandalam Gopi as Nalan and Margi Vijayakumar as Damayanti in ‘Nalacharitham Randaam Divasam.’
The 20th Kerala Natyotsavam, conducted by Drisyavedi, Thiruvananthapuram, was an occasion for Kathakali buffs to celebrate. Each year, the Natyotsavom revolves around thematic concepts such as Irayaman Thampi’s attakathas, Arjuna stories, t
he Ramayana, the Mahabharatha and so on. This year, the theme was ‘Nalacharitham,’ authored by Unnayi Warrier.
Epitome of characterisation
‘Nalacharitham’ holds a special place in the minds of Kathakali lovers on account of its literary and musical high points. This play is considered the epitome of drama and characterisation in Kathakali. It is only after rigorous training in the more structured attakathas and plenty of stage experience that an artiste gathers enough competence to enact the leading roles in ‘Nalacharitham. ’
It was none other than evergreen hero Kalamandalam Gopi who portrayed the Nala of ‘Onnaam Divasam’ and ‘Randaam Divasam.”
His Nala took the audience through the agonies of unrequited love and the ardour of a newly-wed. He was well supported by Madavoor Vasudevan Nair as the Hamsam. His Hamsam stood apart with its right mixture of nritha and characterisation. Kalamandalam Shanmughan enacted Damayanti.
The most disciplined and structured part of Nalacharitham is the famous padam ‘Kuvalayavilochane’ in ‘Randaam Divasam.’ The Damayanti of ‘Randaam Divasom’ was enacted by Margi Vijayakumar.
On the third day of the festival, the show began with Damayanti waking up in the forest to find Nala missing. A hunter comes to her help when she is caught by a python. Ramachandran Unnithan as the hunter enthralled the viewers with his timely sense of humour and variety of nritha.
Scenes depicting Damayanti’s meeting with Sarthavahasangham, her arrival in the Chedi Kingdom and her departure to her father’s home in the company of Sudeva, rarely performed these days, won the hearts of the audience. The scene showing Damayanti’s meeting with Sudeva, performed by Margi Balasubramaniam, touched the mind owning to the lyrical beauty of the padams.
Venugpal, a connoisseur of Kathakali, says: “This part of ‘Nalacharithom’ centres around Damayanti and is a challenge to the artiste. It should be staged more often and buffs will also get a chance to listen to the soothing padams.”
On the fourth day, the evening started with Melapadom by Kalamandalam Subramanian and FACT Damu. Kalamandalam Unnikrishnan and Kalabharati Unnikrishnan accompanied on the chenda, and Kalamandalam Sasi and Prasanth on the maddalam.
It was followed by the performance of ‘Nalacharithom Munnaam divasom.’
This portion deals with Nala’s tale after he deserts Damayanti in the forest. Karkotaka, a snake Nala rescues, bites him and it changes him into a dwarf. The Nala of ‘Munnaam divasom,’ called Velutha Nala in Kathakali, was performed by Kalamandalam Ratheesan.
Bahuka, as Nala is called in disguise, was enacted by Sadanam Krishnankutty. Sudeva reappears in the story to help Damayanti find Nala. ‘Yami yami bhaimi kamithom …,’ a popular padam, was performed by Injakadu Ramachandran Pillai and Margi Harivalsan.
‘Nalacharitham Nalam divasom’ demands the controlled display of emotions and gestures and a slight overstepping would have disturbed the mood of the play. However, Kalamandalam Rajasekharan as Damayanti, Kalamandalam Balasubramanian as Bahuka, and Kalamandalam Mukundan as the cunning Kesini, wonderfully portrayed the scene.
Classical touch
Kalanilayam Unnikrishnan and his disciple Kalanilayam Rajeev rendered the music with a classical touch much to the delight of aficionados. Kalamandalam Narayanan Varanasi on the chenda and Margi Ratnakaran on the maddalam support the artistes. R.L.V. Somadas was in charge of chutty (make-up).
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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