In order to attract audiences to Kathakali, clubs and sabhas these days tend to stage excerpts from different plays and sometimes full plays as well. The organisers take care to see that the duration of a recital does not stop viewers from watching Kathakali performances. Excerpts from Nalacharitham Moonaam Divasam , Sithaswayamvaram, Karthaveeryarjuna Vijayam and the full version of Ambareeshacharitham were performed at M.D. Ramanathan Hall, Palakkad, all within eight hours .
Masterful take
Nalacharitham Moonaam Divasam featuring Velutha Nalan was the first play on stage. Peesappalli Rajeevan succeeded in an evocative portrayal of the grieving King Nala. Rajeevan’s entry on to the stage was quite dramatic. He was able to communicate well the intricacies of padams Lokapalan mare... and Ghora vipinam... His subtle expressions in between the padams were relevant and apt for the scene.
Peesapalli Rajeevan as Velutha Nalan in Nalacharitham Moonaam Divasam
Rajeevan looked more at ease in the manodharma attam. Some poetic themes that he used to describe Nala’s situation were well appreciated.
Vocalist Madambi Subramanian Namboothiri also won the appreciation of the audience for tying together the lyrics for the character in the old bani of Kathakali music, which is rarely heard these days.
Kottakkal Kesavan Kundalayar, seemingly gifted with endless stamina and energy, performed his masterpiece role of Parasurama in Sithaswayamvaram . The role of Parasurama in Kathakali was popularised by legends Vazhenkada Kunju Nair and Kalamandalam Ramankutti Nair. While Kunju Nair focused on the character of Parasurama, Ramankutti Nair emphasised his physicality.
Here Kesavan Kundalayar followed Kunju Nair’s style. His initial manodharma attam on how Sreerama broke the Thrayambakam was rather lengthy.
Kottakkal Kesavan Kundalayar as Parasurama in Sitaswayamvaram Kathakali
In his intense presentation of the padam Aareda Nadanneedunnu ramanoda...., he sustained the sthayi bhava of anger till the end of the performance. However, expressing anger by hitting the stool every time somewhat wrecked the tempo of the performance. He redeemed himself with brisk and energetic kalasams, an example of his rigorous training and mastery in the art form.
The first scene from Karthaveeryarjuna Vijayam Kathakali was performed next. Though the play is not very popular on stage, the scene ‘Kamaladalam’ is a favourite with artistes and rasikas alike. It details a conversation between Mandodari and Ravana, in which she wakes up crying, imagining her husband’s infidelities and Ravana, in turn, consoles her. This scene is one of the most systematic and structured ones in the art form.
Kalamandalam Shanmughan donned the role of Ravana and from the Thiranottam itself he showcased perfection. The influence of Kalamandalam Vasu Pisharodi, a master performer in these kind roles, and Shanmughan’s guru, was evident throughout the performance. His effortless acting and roars were the highlight of the act.
Ambareeshacharitham is also rarely staged. It narrates the humbling of sage Durvasavu in front of the noble King Ambareesha, a devotee of Lord Vishnu. For a perceived slight, the sage unleashes a demon, Krithya, to kill the King.
Eventually, Lord Vishnu comes to Ambareesha’s rescue and Durvasavu is chastened enough to fall at the King’s feet in obeisance. Kottakkal Devadas donned the role of Durvasavu.
His mannerisms and spontaneity added a touch of comedy to the performance. Kalamandalam Neeraj also gave a fine performance as Ambareesha.
Supporting acts
Vishnu Vellakkad (Sreeraman), Kalamandalam Vipin (Mandodari) and Sunoj Pullore (Brahmin] supported the show. The programme was jointly organised by Palakkad Kathakali Trust and Kathakali online forums, Kathakali.info and kathakalipadam.com, in connection with launching of a new app, ‘Kathakali,’ a ready-reckoner on the lyrics and texts of popular Kathakali plays.
