Of the heroes Irayimman Thampi conceptualised and characterised in his three distinguished plays, Keechaka stands out for his invincible determination. The lyrical quality of ‘Keechakavadham’ is inextricably linked to the chaturvidhabhinaya in such a way that seeing its scenes and listening to its lilting melody are a consummate experience even for the lay audience. The play was stayed in Kochi with Kalamandalam Soman as Keechaka and Vellinezhi Haridas as Sairandhri.
The opening scene which depicts Sudeshna, the queen of the kingdom, Virada, and Sairandhri, her maid, in conversation, could have been more effervescent. It turned out to be a mundane padaardhabhinaya by the two actors, Haridas and R.L.V. Pramod. With Keechaka’s entry, the transition in the ambience was visible. Soman, right from Thiranokku (when the curtain is raised), adhered to the poise and exactitude of the Kalluvazhi School. His addressing of Malini in the very first padam in a slow tempo carried the stamp of classicism. Soman fluidly enacted the line, ‘Malleesaravillinodumalli- dunnaninte ’ , comparing Sairandhri’s eyebrows to the bow of Lord Kamadeva. The way he portrayed Sairandhri lashing Keechaka with her eyebrows evoked memories of the Acharyas of yore who excelled in this role. However, Haridas as Sairandhri was a bit too impetuous while enacting ‘Saadaram nee chonnorumozhi’, unlike his role model, the late Kottakkal Sivaraman.
The scene in which Keechaka visualises the unsurpassed beauty of Sairandhri was quite impressive. Yet Soman could have effected some alterations, saving the piece from trite metaphors and images. However Keechaka’s expression of disgrace in front of his sister, Sudeshna, while persuading her to woo Sairandhri for him was imposing. The sringara rasa of the character, Keechaka, is at its peak in the padam, ‘Harinakshi’. Soman’s histrionic skilfulness came to the fore in the pallavi , anupallavi and charanams of this famous padam. Soman also did justice to the act while enacting the soul-stirring scene of Keechaka coming to Sairandhri at the dead of night. Keechaka’s desire towards Krishna (Panchali) and his tragic end at the hands of Valala were a visual treat to watch as Soman did the portion with great empathy.
For the audience, the concluding scene was agonising as Keechaka is smothered to death. As the play finished, a connoisseur wondered why Soman, despite his deep instinct and discipline, found it difficult to liberate himself from the stylishness and mannerism of his mentor, the legendary Kalamandalam Ramankutty Nair.
FACT Biju Bhaskar as Valala and Pramod as Sudeshna were true to their characters. Kottakkal Madhu accompanied by Nedumpally Ram Mohan retained spontaneity in singing each and every padam, including the remarkable dandakam, ‘Kshoneendrapatniyude….’ Madhu seemed to have kept in abeyance his experiments with ragas unfamiliar to the Kaliyarangu. ‘Saadaram Nee’, in raga Begada and the padam, ‘Maaninimaar’, in raga Hussaini, were rendered well. Kalamandalam Venu Mohan on the chenda and Kalamandalam Hariharan on the maddalam added to the grandeur of the play.
The play was staged under the auspices of Changampuzha Park, Edappally, and Cochin Shipyard Ltd.
