Just as Surabhi artistes get ready to stage Jai Patala Bhairavi at Lalitha Kala Thoranam, a poster declares this is their 131st anniversary into theatre. There’s an Annamayya quote ‘ Aade bommalu memu, aadinche sutramu nuvvu ’ in a portrait that precedes the play. The play, for those who’ve watched the film, continues to initiate fascinating parallels, how the iconic scenes bear a charm of their own regardless of the form. Even for a first-time viewer, Jai Patala Bhairavi has enough juice in its writing to work its charm.
From the props to the stage design to the organic and effective performances, what’s lost in terms of cinematic impact, Jai Patala Bhairavi compensates it with the intrinsic depth that theatre as a medium provides. The atmosphere is even livening when one’s surrounded by a full-house crowd cheering and clapping to the moments that unravel at a space solely dedicated to Surabhi. The event hosted by Rotary Sampradaya Trust and Ravada Foundation did serve its purpose, and how!
It’s a given that the trademarks of Surabhi — the seamless integration of the harmonium notes and the artiste’s voices, the intricate stage designs and the special effects (they do live up to the name) — make the viewing experience matchless. There are contemporary additions to generate renewed interest, like the instrumental versions of ‘ Oohalu Gusagusalade ’ and ‘ Bhale Manchi Roju ’ songs in between sequences.
Even if one misses the finesse of PatalaBhairavi ’s film soundtrack, the Surabhi artistes, ably assisted by the sound department (who make good use of traditional instruments and contemporary sound design) capture the soul of the musical well.
One is awed at how birds of different hues fly together, the swing and the garden backdrops are embellished to perfection as Indumathi arrives. The impact, when the Goddess (after which the play’s named) appears to fulfill Thota Ramudu’s wish after he gets hold of the idol, brings one of the best moments to stage. As alternating coloured lights accompany a thunderous music background, one’s well and truly made to sense the power of that moment. The use of puppetry in sequences where Thota Ramudu gets hold of a snake, overpowers a crocodile as he bathes, was equally effective. The dialogues aimed at a better public connect, are simple without avert doses of grandhikam .
Agreeably, Surabhi was extremely efficient in capturing the spirit of folklore-elements soaked in adventure, humour and mysticism. It’s interesting to realise how a spectator, by the end of the play, is convinced to go beyond film comparisons, think beyond SV Ranga Rao, NTR , Relangi (the ‘Thappu Thappu’ dialogues of Surasena are a roar in the play too) and savour the Surabhi spin. Such was the impact of the performance that the spectators-turned-patrons at the venue ended up donating generously to the cash-strapped theatre group. The night served a timely reminder of the potential of Telugu theatre besides its need to stand up to the times.
