When it comes to Kathakali, solo performances are relatively rare as most of the plays require multiple actors doing different roles. The shortened versions of Aswathi Thirunal Rama Varma’s ‘Poothanamoksham’ and Kallekkulangara Raghava Pisharody’s ‘Ravanolbhavam’ are exceptions, as both can be performed by individual actors.
Margi Vijayakumar, well known for his female lead roles, and Kalamandalam Balasubrahmanian, an up-and-coming actor in male lead roles, enacted the lead characters in these plays on the opening day of the 19th edition of Drisyavedi’s Kerala Rangakalolsavam.
Delightful Poothana
Margi Vijayakumar was at ease in the role of Poothana in ‘Poothanamoksham’, starting with the popular padam ‘Ambadigunam...’ set to Kamboji, Chempada. Poothana, watching the delightful scenes in Ambadi (such as gopis dancing, churning..) was evocatively essayed by Vijayakumar to perfection. The ability of the actor to add subtle nuances and his eye for detail further enhanced the act.
The elaborated act of ‘Dadivindu Parimalavum...’, from the final charanam onwards gave enough scope for the singers to experiment. Kalamandalam Jayaprakash, along with his co-vocalist Kalamandalam Krishnakumar, made the best use of it by improvising the verse in ragamalika. However, they seemed to be trying too hard and the strain in their voices was rather apparent. Vijayakumar brought in a lot of shades into the character by effectively employing the technique of ‘bhavatraya' to showcase the varying emotions of the demoness.
Margi Rathnakaran excelled on the maddalam, complementing the actor, while Kalanilayam Krishnakumar, who joined on the chenda towards the end, was not that effective.
Not quite Ravana
Ravana in ‘Ravanolbhavam’ is one of the most demanding characters in the Kathakali repertoire and even experienced actors find it strenuous to do justice to the role. This particular segment of the play, which includes the 'thapassattam' of Ravana, is portrayed through the technique of 'pakarnattam' and tells the story of how Ravana becomes an invincible king.
Kalamandalam Balasubrahmanian might have tried his best to make his act count, but was unable to evoke the heroism or valour that Kathakali enthusiasts have come to expect from this Ravana. The entire choreography could have been more fluently synced with the variations in Thriputa tala. The signature roars of the character also sounded feeble, which further weakened the mighty Ravana.
The melam led by Kalamandalam Krishnadas was top-notch. Margi Rathnakaran, Kalamandalam Vineeth and Kalanilayam Krishnakumar formed the rest of the percussion.
