World Theatre Day, falling on March 27, is a good reason to engage in a dialogue with some prominent drama troupes, which have been entertaining Tamil-speaking audience across the country and overseas. ‘We are hooked,’ they chorus and go on to answer these questions:
1. What sustains your interest? 2. Do you think Chennai takes theatre seriously? 3. What is lacking here? 4. Your best moment 5. Plan for the future
Y.G. Mahendra
(United Amateur Artistes)
When my father YGP started UAA, I was two years old. I grew up in an atmosphere of theatre — rehearsals and script reading. The passion is in my DNA.
Two best moments: One in 1961 — when I started acting with my father in ‘Petraldhan Pillaiya?’ My first dialogue on entry drew laughter from the audience at Museum Theatre. Can’t forget the confidence it gave me. In the same play, Sivaji Ganesan, who was in the audience, mentioned about me to my dad. The Sivaji bug bit me at that moment.
I wonder whether nowadays Chennai takes anything seriously but we artistes take theatre seriously. There is a section of the people too, who do appreciate theatre.
The reluctance of people to pay and watch Tamil plays — too many ‘all are welcome’ shows. This doesn’t allow us to take up theatre as a profession. In fact, this is true of music and dance too.
I won’t profess to revolutionise theatre — but I shall keep the UAA brand of purposeful humour and content alive. Our brand of theatre is as much for the back benchers as it is for the front rows. Keep it clean and simple and it will be evergreen. Happy that the UAA has been the launching pad for several artistes and troupes, who in turn have brought in a lot of youngsters to the stage today. My concern — not so many youngsters in the audience.
S.Ve. Shekher (Natakhapriya)
Being in the leading place is a motivator by itself. We still stage houseful shows. So many troupes, including young ones, are in the field but that has not diminished our popularity.
Chennai / Tamilnadu, 22.06.2015, For City:- Dramatist and Film comedian S.Ve. Shekhar interview with "The Hindu" in Chennai on Monday. Photo. M. Moorthy
Best moment — There is a story here. It was my dream to join Viveka Fine Arts Club. My uncle was already with the troupe and so my entry was thwarted. But I watched Cho’s magnum opus Tughlak a hundred times. Cut to the final show of ‘Mohammad-bin-Tughlak’ with which Cho signed off and disbanded the troupe. In the last scene, he delivered a speech at the end of which I rushed to give him soda — finally I managed to share the stage with my idol.
Yes, Chennai does take theatre seriously.
All the halls cater to music and dance. The rent is exorbitant. In a city, which loves good drama, shows should not be for free. Gate collection is vital for the growth of the art.
In a span of four decades, Natakhapriya has overcome challenges from different quarters — 24 plays, 6,400 shows and counting. I’ll be happy to maintain this track record.
‘Crazy’ Mohan (Crazy Creations)
The thrill of hearing the audience erupt into laughter — nothing can equal that and that’s the best motivator. This instant response to our healthy humour will keep us going for many more miles.
Chennai, 14-10-2015 : Crazy Mohan, play writer, during an interview in Chennai. Photo : S_R_Raghunathan
Of course, Chennai takes theatre seriously. Yes, we can say that, based on the large crowds and the collections received for our shows. Some of our earliest plays are still running. We can do with better audio system in the halls of Chennai. And we need more well-equipped auditoriums in Chennai, Coimbatore, Madurai, Tiruchi and other important towns in the State.
Best moment — Yet to come. Probably, the 1,000th show of ‘Chocolate Krishna’ this year will be it.
Future — We are planning to celebrate the 40th year of our successful journey with a new production — Crazy Premier League (CPL). It’ll be like watching a T20 match.
T.V. Varadharajen
(United Visuals)
My passion has not waned. Each outing gives me the same excitement it did so many years ago. I love the freedom my creativity gets and the instant appreciation from the audience.
CHENNAI: 10/05/2016--- : Drama artist T V Varadharajen. Photo: K.V. Srinivasan
Best moment - presenting the 100th show of ‘Sri Thyagarajar’ at the saint’s shrine in Tiruvaiyaru on October 9, 2017.
Why wonder whether Chennai takes theatre seriously? I have seen all forms of theatre in many languages. But it is Tamil theatre that has life. The artistes here don’t make a living out of this art. They are in it for love.
What we miss most is Government patronage followed by the lack of print media support — Tamil plays are ignored by all newspapers, except a couple, one of which is The Hindu .
Will give wholesome entertainment through our plays and take them to a wider audience with the help of technology.
Kudanthai Mali (Mali’s Stage)
It is simply addictive — taking my creation to a live audience and getting an immediate response. This has sustained me through the six decades of my association with stage.
Chennai: 05/02/2017, For City: Kudanthai Mali dramatist at P S Dakshinamurthy auditorium, P S High School Mylapore. Photo: M. Karunakaran Chennai: 05/02/2017, For City: Kudanthai Mali dramatist at P S Dakshinamurthy auditorium, P S High School Mylapore. Photo: M. Karunakaran -
I can’t define one best moment — every inauguration (of my new play) and every award that comes my way boost my morale.
Definitely Chennai takes theatre seriously. Only in Chennai, we have so many sabhas, which encourage plays. A drama festival is held and awards are given.
Anything that is lacking here? Wish more youth came to watch plays.
My script always comes with a message — national and spiritual. Add now social issues. In the future, you’ll have contemporary themes, enacted by talented actors.
N. Ratnam (Koothapiran Navabharat Theatres)
Passion, of course. It is a legacy my illustrious father has left for the family.
My play, ‘Chaduranga Parvai’ (2017) was blessed by Rajinikanth, who signed on the first page of the script, “God Bless.” That was the best moment.
Yes, Chennai takes theatre seriously but more support is needed from the media. Without that we can’t reach the people. Sponsors and media reviews are what we lack here.
I’m planning to involve students in the future projects. Recently, our play, ‘Robovin Diary,’ was presented by the students of Ethiraj College on their annual theatre day. It was well-received. It is time to tap the potential of the youth to keep the flag flying.
T.V. Radhakrishnan
(Sowmya Theatres)
I’m addicted to theatre. We are aware that it is not lucrative. But no amount of money can equal the satisfaction that accolades and awards have given me — a playwright, director and actor. I have several moments to cherish — ‘Mazhaiyudir Kaalam,’ which was enacted with a three-member cast won critical acclaim and awards; the ‘Ilakkiya Chindanai’ title conferred by the Tamil literary society, the eight awards ‘Solla Kodhikkudu Nenjam’ collected at the Kodai Nataka Vizha 2017 and the book on Tamil drama that I released recently. Yes, Chennai loves theatre; doesn’t miss a good play.
We need media support and sponsors. Every play staged should be reviewed and productions, especially those done on a grand scale, should be funded. Sowmya Theatres wants to involve the youth in production and acting. Our new play, a thriller, will be powered by the youth. I foresee a bright future for Tamil theatre.
P. Muthukumar (Mayurapriya)
The instant audience response is one of the major reasons for my abiding interest in theatre.
Best moment — April 2017, when our play, ‘Vivaha Malai,’ got 11 awards under various categories in the Kodai Nataka Vizha of Kartik Fine Arts.
Of course, Chennai takes theatre seriously. The audiene never fails to support quality plays. There are more than 30 troupes and there is a healthy competition.
Chennai lacks good auditoriums meant exclusively for theatre like Rangashankara in Bangalore or Pritivi in Mumbai.
In the future I want to come up with stuff that attracts young people.
Augusto (Augusto Creations)
Scripts transform me. The minute I begin to write, I step into the shoes of my characters. I love being in the world that I have created and this motivates me to keep producing plays.
My best moment came when I received the Best Stage Director Award from K. Balachander — on two occasions.
We miss a good place for rehearsals. Well-equipped auditoriums could be offered at subsidised rates, if not free of cost.
At the moment, I am looking forward to staging my new play at the Kodai Nataka Vizha.
Srirangam Rangamani
(Arangan Arangam)
What else but passion can keep me associated with theatre at the age of 74? I have been acting from age 8. I love the art of creating characters and also slipping into a role.
It is always social issues with which I go to the audience — ‘Vazhkai Vichitiramanadu,’ ‘Manappandhal,’ ‘2BHK,’ etc., — discussing dowry, depression and so on. This gives me satisfaction.
We need better support from sabhas. I will keep doing what I love most in the future.
C.V. Chandramohan (Mother Creations)
Nothing but passion… instant response from the audience keeps me going and the creative freedom that I get as writer and director.
CHENNAI:06-05-2008:For Friday Review R.Krishnaswami Secretary, Narda Gana Sabha,presenting Devan Memorial Medal-2008 to Ananthakrishnan(Playright&Actor)and C.V.Chandramohan(Playright) at Sivagami Pethachi Auditorium on Monday. Charukesi Trustee Devan Endowments is in the picture. For Friday Review:Photo:R_Shivaji Rao
A heart-warming moment was when K. Balachander came to witness our award winning play, ‘Nethra Darisanam.’ Eventually, he roped me in to work with him in his serials.
Chennai is theatre-conscious but not like as in Mumbai or Kolkata.
Youth is a missing element among the audience. My scripts henceforth will make the young watch plays.
Mapillai Ganesh (Sathyasai Creations)
After 38 years and 3,500 shows, it is passion that has kept me going. The thrill of performing in front of a live audience has no match.
Best moments are reward moments — awards from Kartik Fine Arts, Mylapore Academy, Radhu’s Nataka Acadmey, etc. Next month, on April 14, I’ll be receiving the Award of Excellence from KFA.
Sponsorship is lacking. With the high cost of hall rents and scenes it is not easy to manage.
Will continue to do theatre and do it with greater enthusiasm if media helps us to reach people.
Madhuvanti Arun
Theatre of Maham (TOM)
I’m the third generation theatre person in the family. My father and grandfather had set the trend.
CHENNAI; TAMILNADU 12/02/2015; Madhuvanthi arun intrerview to The Hindu Tamil on Thursday Photo: M_PRABHU
Every performance of ours, especially the final curtain call when we hear the audience clap and cheer us, is the best moment for me.
Chennai takes English theatre more seriously. Having said that, we are getting there. Tamil theatre will be taken seriously only when we say ‘no’ to free shows. Theatre of Maham has been lucky to get audiences, who pay to watch us perform. But that has to extend to all Tamil theatre groups, especially the juniors.
Discipline among audience is lacking — many of them walk in and out as they please without taking their seats on time.
Ambarish Raghavendar
(Madras Nadaga Company)
Being the son of Radhu, theatre has been a part of my life. My grandfather was a theatre personality and my mother was into theatre production. The immediate response from the audience is an experience exclusive to stage performers.
In our recent comedy, ‘Rendum Onnum Naalu,’ which was staged at Sri Krishna Gana Sabha, I was approached by a complete stranger, who had come to watch the play. He was under severe depression, on the verge of committing suicide. He said that my play relaxed him and he decided not to take life so seriously. That, I guess, is the best moment so far in my stage experience.
Yes, Chennai takes theatre seriously. I think youngsters today have immense talent and interest. There are takers for good plays.
We lack a lot of things here. To begin with, proper auditoriums dedicated to theatre. The good ones are more suited for music and dance. This makes it difficult for the technicians to design sets and arrange special lighting. Secondly, technologically we are behind. Theatre is not paying. Often, troupes pay out of their pockets to meet the costs. Sponsorship and better remuneration from sabhas can change this situation.
(Compiled by Geetha Venkataramanan)
