Historical as a genre has almost become a thing of the past on the Tamil stage. The late Manohar was prolific and Heron Ramaswamy kept it alive with some worthy shows. Mythologicals and historicals are staged but the occasions are few and far between. Thus the announcement of ‘Parthiban Kanavu’ caught the eye.
Kalki’s magnum opus ‘Ponniyin Selvan’ has been staged, ‘Sivakamiyin Sabatham’ was a grand spectacle when the TKS Brothers presented it nearly five decades ago but the dream of Parthiba Chozhan has not been explored on the stage. Well, until Ajay Entertainers took up the subject. And it turned out to be an absorbing affair, at Raja Annamalai Manram, recently.
And is that the same troupe that has also been presenting ‘Ponniyin Selvan’ on stage? “Yes,” says Mallik Raj, writer-director. ‘Ponniyin Selvan’ under the auspices of TVK Cultural Academy was ready for inauguration but we decided to defer the event when announcement came of Magic Lantern’s show in 2014. Eventually we staged the story of Arulmozhi Varman in June 2015 followed by ‘Sivakamiyin Sabatham.’
Mallik Raj has been in the theatre circuit for two decades, writing social scripts since 1997. Ajai Entertainers is a regular at competitions. Moving to Chennai from Tirunelveli, his native place, Mallik Raj was fascinated by Tamil plays. “My uncle, a journalist, was an avid theatre buff and he used to get passes for shows and I accompanied him,” says Mallik, who mentions Leo Prabhu as a source of inspiration. He wrote scripts for his office recreation skits.
One thing led to another and he started his own troupe. An all-rounder of sorts, Mallik Raj also takes care of lighting and music.
Has the historical experience been encouraging? “Both plays have been well-received,” says Mallik Raj. ‘Ponniyin Selvan,’ in fact, was a huge commercial success and the troupe has travelled outside Chennai to Bangalore and Thanjavur.
The positive outcome of the two ventures naturally would have led to the latest play. “Actually, I was working on Romeo and Juliet when Mr. Ravi of Brahma Gana Sabha approached me for dates. He suggested that we make ‘Parthiban Kanavu’ so that a three-day Kalki festival could be conducted. That was the first time it was staged,” he adds.
Did ‘Sivakamiyin Sabatham’ with the dancer as the heroine pose challenges? “Yes, but there is enough drama in the script, which could be boosted in the play,” responds Mallik Raj. Contact 9444073047 and 9445638335
Keeping the link alive
Well-delivered dialogue and appropriate sets made viewing ‘Parthiban Kanavu’ a pleasant experience. Kalki’s story revolves round the wish of Parthiba Chozhan, to break free from the shackles of the Pallavas. An independent state is his dream before realising which he is killed in the battle but not before passing on the mantle to the young prince Vikraman.
Master story teller that Kalki is, he spins the web bringing valour, romance and adventure into play. On stage, the troupe captured the spirit with their acting, costume and body language. Rustic Ponnan (Raghavan) and Valli (Nanjil Revathy), live-wire couple, lived up to their roles with good timing and diction. Revathy is the daughter of veteran Nanjil Nalini and seems to have inherited the senior’s talent.
Love for Tamil was underlined and the stage reverberated with ‘Tamizh Vaazhga,’ - a liberty taken confided Mallik Raj. Screenplay writer for the play is Poovai Daya. As Narasimha Pallavar, Natanasabapathy carried himself with the majesty one associates with the ruler. Abdul Rahman as Parthiba Chozha captured the angst of a brave ruler, straining under the leash but helpless. A picture of dignity was Parimalam, who played Arulmozhi Devi, his queen.
Prakash Kutty fitted the bill as Vikraman but should be more fluent in his delivery. Jagadish as the ambitious Marappa Bhoopathy and Deepan as Chitraguptan (created for the play) provided comic interludes.
Music by Alex enhanced the proceedings. Scenes and sets by Balan and Kitcha drew attention, especially the vital painting of the procession, where the caparisoned royal elephant has no king atop. Doss (make-up) and Thangapandiyan (costume) made valuable contribution.
There were some rough edges, as can be expected in a challenging production of this kind, which the director promises to attend to. Efforts like this need the support of patrons and sabhas to keep the historical link alive. After all, the Tamil stage has a rich past in this field.
