The performance of ‘Subhadraharanam’ opened with a spectacular scene where Subhadra, the charming sister of Lord Krishna and Balabhadra, chose Arjuna as her groom, by placing the wedding garland on his neck. Arjuna had discarded his disguise as an ascetic, which he assumed as per his mentor Krishna’s suggestion; it ensured him warm welcome even in Subhadra’s quarters in Balabhadra’s palace, paving way to this happy turn of events.
Kalamandalam Gopi, doyen among contemporary Kathakali artistes, donned the role of Arjuna. He imprinted the character in the hearts of the rasikas through his inimitably expressive eyes, brows, cheeks and lips, carefully controlled bodily movements and postures appropriately complemented by graceful gestures. Below the colourful canopy and above the so-called half curtain ( arathirasseela or ‘curtain cloth folded horizontally’) his appearance with his glittering headgear, duly embellished with two ornamental hand-held fans and holding, by both hands, his bow and arrow, was a treat in itself. Gopi’s precise and subtle movements shed light on the multifarious aspects of the hero’s mindscape, including the thrill of victory in winning the most sought after heart of Subhadra, intermingled with the feeling of guilt in resorting to deceitful disguise for the concerned venture. The orchestra, handled dexterously by Kalamandalam Krishnadas and Kalanilayam Krishnakumar on the chenda and Margi Rathnakaran and Kalanilayam Rakesh on the maddalam, placed the performance on the high pedestal.
The presence of Indra and Krishna (presented by Kalamandalam Arun and Kalamandalam Vipin, respectively) added to the total effect of the wedding scene. Margi Vijayakumar’s delineation of Subhadra in all the three scenes that she appeared in left nothing to be desired. Excellence in emotional, gestural and imaginative acting coupled with the care bestowed on maintaining grace and magnificence in make-up and costumes, makes him uniquely suitable to stand on a par with any artiste on the Kathakali stage.
The amorous scene (sringara rangam) culminated in Arjuna carrying away Subhadra on a chariot that’s driven skilfully by the princess herself and involved acting in the slowest tempo as well as that pinnacle of valour on the part of both the hero and the heroine. While challenging the army chieftains of Dwaraka in battle Gopi burst into such a vigorous dance interlude [kalaasam] as though forgetting himself, while Vijayan, continued to prove his mettle at every point.
The scene in which two Brahmins (presented by Kalamandalam Arun and Kalamandalam Sudeep) narrated the events that unfolded provided a comic interlude.
The final scene detailed the repercussions in Dwaraka after Arjuna spirited the princess away. Balabhadra’s intention to give his dear sister in marriage to his favourite disciple, Duryodhana, was ruined by the unexpected turn of events, presumably by Krishna’s clandestine support of his dear friend Arjuna. Naturally his anger knew no bounds. But Krishna finally succeeds in convincing him that Arjuna, in fact, is the most qualified groom for Subhadra, and Balabhadra calms down completely, on noting Arjuna’s unparalleled skill in archery evidenced by his victory over the forces of Dwaraka, without injuring anyone even slightly. Entirely pleased with Arjuna, Balabhadra sets out to Indraprastha, with Krishna and their whole retinue, bearing the choicest gifts to the newlyweds. Kalamandalam Shanmughan’s presentation of Balabhadra was flawless and was pleasantly reminiscent of the enacting of the role by the legendary Kalamandalam Krishnan Nair. Kalamandalam Vipin, who played Krishna, matched Shanmughan in all respects. The ashtakalaasam performed in perfect union by Balabhadra and Krishna was especially enjoyable.
The quatrains and padams at the beginning of the performance were rendered into music in tune with the grandeur of the context by Kalamandalam Mohanakrishnan supported by Kalamandalam Sudheesh. The latter’s rendition, assisted ably by Kalamandalam Visvas, of successive portions of the text, was pleasing and impeccable.
The performance was held under the aegis of the Department of Tourism as part of the six-day Kathakali mela of the Nishagandhi festival.
