While Major Chandrakanth , Neerkumizhi and Ethirneechal heralded the arrival of K. Balachander as a trend-setting theatre personality in a big way, the single-stage-setting of these dramas was also novel for those times.
But, N.K. Ranganathan, the creator of these settings, shunned the limelight. He was a typical backroom boy, whose lights and settings provided a peep into his artistic world. He even refused to accept any remuneration for his work from any theatre group.
“I am a professional when it comes to lighting. I created sets out of passion and love for theatre,” says the 85-year-old, even as he enthusiastically recalls how he was mesmerised by the settings of the play Jotham Valley. “The play was one of my inspirations. The moving clouds and the fireplace on the stage captivated the audience. You really felt the cold in a scene of a cold night,” says Mr. Ranganathan, a native of Mylapore and a childhood friend of V.S. Raghavan, actor and theatre personality.
Mr. Ranganathan, a theatre enthusiast who ran his own theatre group, got a break when Mr. Raghavan roped him in for the settings of Sathurangam, a Tamil remake of the English play Someone Watching . Mr. Balachander had adapted the play in Tamil.
“But RR Sabha refused the platform on the grounds that it was too modern and dialogue-oriented a play. But Krishna Gana Sabha came forward to provide the space,” he recollects, adding that the success of the play forced RR Sabha to reconsider its decision.
Talking about the challenge of the single-set stage, he said it was to beat the boredom often faced by the audience, and make them sit in a hall for two-and-a-half hours. Mr. Ranganathan’s creativity and sense of aesthetics resulted in props and sets that matched the breathtaking sets used by well-established theatre groups.
“Normally, the audience gives a standing ovation after the end of a play. But for the staging of Ethirneechal it happened when the screen was lifted. Early morning life in the multi-storyeed apartment, portrayed powerfully through lightings and settings, unfolded like magic,” he proudly says.
Mr. Ranganathan also worked for troupes run by actor Jaishankar, Manorama and Mr. Raghavan. While the partnership with Mr. Balachander continued even after he forayed into films and met with success, Mr. Ranganathan’s dark days began when theatre lost its sheen.
“I found it difficult to make both ends meet. It was Balachander who then gave me a second lease of life. He made me the manager of his Minbimbangal Creations. If I am sitting before you and talking, it is because of him,” he acknowledges.
