B hartendu Harishchandra was the pioneer of modern Hindi theatre who wrote in almost all literary genres including poetry. But he was essentially a man of theatre.
Adya Rangacharya, a well known writer and playwright, describes him as “the first modern Indian dramatist who consciously gave a new mission to the theatre...” It is no wonder his plays frequently produced by various groups have met varying success. We often watch plays on his life with veneration. The latest theatrical piece about him titled “Banaras Ke Babu Harishchandra” was presented by Rangbhoomi at Shri Ram Centre recently and was witnessed by audience in a capacity full hall.
Directed by Chitra Singh, the play focuses on the life of Bhartendu and the people in his life, especially his relations with Mallika, a highly accomplished woman with literary taste. Through his interactions with some literary personalities of Varanasi, we are acquainted with broad social, literary and political trends of the second half of the 19th Century India. These conversations also provide insights into his religious, aesthetic and political views. He exposed obscurantist ideas prevailing in the Hindu religion. Though he has committed himself to the growth and spread of Hindi, he wants the study of English essentially for communication with the outside world. As far as the theatrical art is concerned, he works hard through his practice to invest it with contemporary sensibility.
Though belonging to a business community, he has no interest to engage himself in business. Inspired by his father, a literary figure, he devotes himself to writing, meeting people, observing social life, helping out those who are in dire need of money. Betrayed by those whom he has helped with money, having liberally spent them in the company of friends, a stage comes when he has to face financial crises. The family business was being run by his younger brother without much success but the family expenses went on increasing.
Written by Jayvardhan, playwright, director and actor, the play seems to concentrate on Harishchandra’s family life, his neglected wife, his visit to nautch girls and his meetings with friends. Against the backdrop of Harishchandra’s troubled family life, the play projects his tender romantic relations with Mallika. In fact, the emotionally charged scenes between Harishchandra and Mallika tend to be the main focus. The romantic feelings are steeped in sad musings caused by the insecurity being faced by Mallika, especially her status in society. In an emotionally charged moments, an agonised Harishchandra applies vermilion on her parting, elevating her to the status of a wife from the position of mistress. He is always troubled about the happiness of Mallika and has not forgotten her even at the time of his death, requesting his younger brother to take care of Mallika. The depiction of the life of a great renaissance personality follows chronological order which results in the weakening of dramatic impact and the narrative tends to be straightforward.
In the past we have seen some plays about Harishchandra, the notable being one by Prasanna who wrote it in Kannada and directed its Hindi translation as “Seema Paar” for the National School Drama Repertory Company in 2003. In that production, Prasanna dramatised Harischandra’s life, his relationship with Mallika with emphasis on his works and his struggle with his impending death. Inspired by Ingmar Bergman’s film, “The Seventh Seal”, Prasanna uses the allegory of chess game played by Harishchandra with death which makes his production artistically complex.
In the production under review, we miss comments on the plays by Harishchandra who was a man of theatre, a playwright and actor. He was not only father of modern drama but also pioneered movements for amateur theatre and formed Bhartendu Natak Mandali in Varanasi in 1909 which used to stage not only his plays but also the plays of his contemporaries.
Rangbhoomi’s production missed the focus on his plays like “Jaisa Kam Vaisa Parinam” and “Satya Harishchandra” which were aimed at establishing moral values in society. His play “Andher Nagari” is a satirical comment on the ruling class which has universal appeal. This play continues to fascinate contemporary directors. In the past we have seen brilliant productions of the play by B.V. Karanth and B.M. Shah.
Harishchandra was not merely a philanthropist, a humanist in deep love with an articulate young woman and a lover of good life, he was a multi-faceted artist richly gifted to be truly a pathfinder. Of course, there is a sequence which shows Harishchandra in the process of writing. But we do not know what he is writing about and the dilemma he has confronted as a writer. Today, we know Bhartendu as a playwright, a pioneer of amateur theatre movement and a genius whose plays display remarkable relevance to our own situation – social and political.
However, three aspects of the production stand out for their brilliance. Veteran lighting designer and recipient of Sangeet Natak Akademi award, R.K. Dhingra immensely enriches the production, evoking the right mood for the action and enabling the dramatis personae to reveal their inner turmoil. The production is aptly designed with two main locales for the action, the house of Harishchandra and the residence of Mallika which is given to her by Harishchandra. The acting by the entire cast bears the stamp of professional finesse. The denouement where Harishchandra breathes his last is intensely poignant that moves the audience.
J.P. Singh as Harishchandra and Ankita Gosai as Mallika invest their scenes with restraint artistry, creating images that exude grace, beauty and romance. Alone in their room, forgetful of the outside world, they sing a piece of thumri, transforming their scene into the image of subtle sensuality. Chitra Singh as the neglected wife of Harishchandra conveys the agony of her character with a tinge of bitterness. Meeting Mallika for the first time with Harishchandra lying on his death bed, the wife forgets her animosity and comes closer to Mallika in the moment of their tragedy.
