It is not often that one finds on Tamil stage themes based on history or epics. R.S. Manohar raised the bar by taking the narrative to a different level, not only through some fine acting but well-executed visual effects, which kept the audience glued to the seats. There are attempts, though sporadic, to keep the genre alive. For instance, Thamizharasan Theatres of D. Balasundaram, whose passion for drama of this type makes him go in search of stories drawn from history and epics. ‘Narasimhar,’ ‘Om Nama Sivaya’ and ‘Soorasamharam’ are some of the titles he has presented and the latest in the line is ‘Deiva Sekkizhar.’
‘Deiva Sekkizhar,’ directed by Balasundaram and produced by Shanti Balasundaram, is the story of Arulmozhi, a Siva devotee, whose love for Tamil is equally deep. At a young age, he becomes the chief minister in the court of Kulothunga Chozha II (a commendable lowkey performance by K. Ravikumar). Finding the king under the sway of a Jain monk, the minister weans him by narrating episodes from the life of the four well-known Siva devotees — Appar, Sambandar, Sundarar and Manickavachagar. Moved, the king requests him to compile the history of the 63 Nayanmar. Sekkizhar agrees and sets out on a long journey — to the places of the Nayanmars.
Impressive portrayal
Sekkizhar’s journey begins at Chidambaram, where Lord Nataraja obliges his devotee by suggesting the first word of the saga. ‘Ulagellam...’ prompts the Cosmic Dancer and Sekkizhar continues... ‘odarkariyavan... a verse dear to Saivites. Balasundaram as Sekkizhar showed both authority and humility as his twin personality demanded. The play captured the mood of the period, the actors playing their roles with practised ease. Comic relief came in the form of an overambitious nincompoop. The queen’s niece (elegant sketch by Sandhya), who falls in love with the chief minister, added a fleeting touch of romance. Vrinda as the queen was a picture of poise.
Flip side? The scene change was a tad slow and one wished that some of the actors had perfected their Tamil diction. They have to conquer the consonants — ‘la’ and ‘na’ — which seem to be elusive. The production was dedicated to R.S. Manohar, to whose troupe Balasundaram belonged. The theatrical effects were in place, albeit on a modest scale. Aminijikkarai Das and Mano were in charge of scene and lights, Ashok taking care of costume. “It costs about ₹80,000 to produce a play with special effects. The fee we get doesn’t cover the cost, but I have managed for the past 11 years,” explains Balasundaram, who takes his productions to Singapore and Malaysia. At home, temples, apart from sabhas, are his stage. “We are busy through the year. Thousands of devotees stand to watch ‘Soorasamharam’ at the Nellaiyappar temple. It’s a humbling experience. In Chennai, Marundeeswarar and Mangadu Kamakshi Amman are among the temples, where I have staged my plays. Kunrathur and Salem are places our troupe regularly visits,” adds Balasundaram.
Music plays a major role in these plays — the narration was interspersed with songs. “The voice belongs to K.C. Swaminathan. It is recorded but Swaminathan does not miss a single show,” informs Balasundaram. “I’m indebted to K.P. Arivanandam, who has been guiding our troupe all these years,” he remembers. Thamizharasan Nadaga Kuzhu’s next offering could be on the deity of Tirumala. “We are planning to present the story of Venkatanathan through saint Ramanujar,” he says.
‘Deiva Sekkizhar’, staged at the Narada Gana Sabha on Saturday last was timed well — soon after the Arupathu Moovar festival of the Kapali temple. The audience didn’t fail to cheer as Poompavai emerged from the earthen pot and Appar raised Appoodi Adigal’s dead son. It is this connect which keeps playwrights such as Balasundaram going.
