Whenever a new version of Mannu Bhandhari’s “Mahabhoj” is seen on the stage, the memory of the great Indian actor Manohar Singh becomes vivid. Singh played a significant role when its first production was staged under the direction of Amal Allana in 1982. In terms of brilliance of acting, dramatic sweep, directorial excellence and projection of multiple social contradictions, Amal’s production continues to be unparalleled. Ever since Amal produced this play for the Repertory Company of the National School of Drama, it fascinated a number of senior stage directors as well as young ones, who presented it in a variety of presentational styles, investing it with new meaning. The content of the play is so powerful and the characters drawn so realistically in depth, it is no wonder if most of these productions grip our attention, deeply disturbing us with the depiction of a heartless socio-economic system. Adapted by the novelist herself, the latest version of this celebrated work was featured at the just ended Yuva Natya Samaroh organised by Sahitya Kala Parishad, Delhi Government, at Shri Ram Centre.
An austere production remarkable for its ingenuity, the play under review is directed by Tarique Hameed. Assisted by Baljit Singh, Tarique’s emphasis is to make the actor’s body language the main expressive means. After their scenes are over, the performers remain on the stage providing the required background for the action which keeps on shifting to different spaces. To perform multiple roles, the performers step out of their character to create backdrop scenes.
The play dissects the class and caste antagonistic forces prevailing across a vast rural landscape of Saroha. This assembly constituency has become a hotbed of state politics. Dalit leader Bisu, who protested against the destruction of property of landless Dalits by landlords, has been brutally murdered. This gory act of ‘high’ caste landed aristocracy has threatened the survival of the ruling party of the state.
The production brings into focus not only the inherent contradictions between Dalits and the forward caste landed aristocracy, but also the contradictions among the ruling classes. Here is a system which continues to perpetuate the supremacy of the landowning class determined to destroy in a ruthless manner any attempt at resistance.
Among the wide range of characters we meet Da Sahib, the Chief Minister of the state, who is articulate, God-fearing and even in the moment of emotional and political crisis maintains calm. His every action and dialogue is part of a preconceived design to serve his ultimate political interest. He pretends to be above all narrow minded class and caste interests.
There is Binda, a passionately committed Dalit youth ready to fight against the oppressors. Full of fury, he wants to carry forward the struggle of the oppressed initiated by his comrade Bisu, an educated Dalit who has now become a martyr to the cause of Dalit liberation. In the character of Mahesh, a researcher, who has come to Saroha to study the class and caste conflict, he finds a trusted sympathiser. Mahesh who has given in writing to the university authorities that he would remain an objective observer of the conflict, finally gets involved in the struggle of the oppressed.
There is police officer Saksena who in his passion to go deep into the truth of the death of Bisu, courts the wrath of the chief minister and stands suspended. There is a local newspaper claiming to be a fearless fighter for the cause of truth. Its young and socially committed journalist Narottam brings the news of Bisu’s murder. His editor Dutta Babu decides to expose the murderer in his coming issue with a view to boost the circulation of the paper.
Director Tarique and his cast evoke a tense atmosphere on the stage. The presentational style ensures the flow of action. It moves logically and cohesively to its climax.
Some of the characters like Sukulbabu, an arch rival of Da Shib, are not shown on the stage but their presence is established through the conversation of the characters. Similarly, in the original version, Mahesh also plays the role of narrator. But in the production under review he is involved in the action alone, allowing the director to follow the concept of the fourth wall.
The climactic scene is very vital to the success of the play. Tarique treats it with dramatic force. The stage is divided into three spaces: on the centre stage is projected the image of Binda being brutally tortured by the police. On the other side is the loud and vulgar celebration of the victory of Lakhan, Da Sahib’s stooge , and the promotion of the DIG who has implicated the innocent Binda. On the other side stand Mahesh and suspended police officer Saksena as mute witnesses. By juxtaposing these scenes illuminated by subtle lighting the emotional impact is immensely heightened.
Vinod Kumar B. as Da Sahib creates a convincing portrait. Surjana Sanadhya as Jamuna Behn, the most devoted wife of Da Sabib, is a picture of humility and motherly love. Udit Tyagi as Dulta Babu the opportunistic editor, Atul Dhyani as Mahesh, Sumit R. Rajput as Binda, Vaibhav Wadhava as the suspended police officer and Deepak Kumar as Joravar, the brash, aggressive, violent landlord humiliated at the hands of crafty Da Sahib, play their roles effectively, evoking a wide range of emotions to engross the attention of the audience.
