Every artiste has to make a choice between fame and money at some point in their career. Prasanth Narayanan, the director of Chayamukhi , one of the best known plays in Malayalam in the recent times, did not have to think twice before choosing money, for he thought fame would follow. But ironically, ‘Chayamukhi’ brought him only fame and hardships thereafter.
While Kozhikode honoured the dramatist on the occasion of his completing 30 years in theatre on Monday, it was writer V.R. Sudheesh who blurted out the hardships the director had to undergo to bring out one of the finest plays in Malayalam in the modern age. With a Kathakali background, theatre was in the blood for Prasanth right from birth.
The training from School of Drama propelled him to the world of theatre and found his forte directing plays like Vajramukhan, Oorubhangam, Dootakhadolkacham, Chayamukhi and recently Makaradhwajan, Janaalakkappuram, Manikarnika and Karra . He also penned the plays Kunjanu Bhranthanu, Aracha Charitam, Thoppikkaran, Baloonukal, Vajramukhan, Pravukal, Chayamukhi, Sooryarasipuram and Devayanam . He has also been a researcher in theatre, and an actor as well.
Modernity and tradition
“He is known for combining modernity with tradition in theatre,” said Sudheesh, adding that he is following the path of G. Sankara Pillai and Kavalam Narayana Panicker.
Musician and lyricist Kaithapram Damodaran Namboothiri in his inaugural address lauded Prasanth for bringing the top stars of Malayalam cinema to the stage, pointing out that Mohanlal, Mukesh and Manju Warrier had come on to the stage under his tutelage.
“And it has benefited the stage.” said D. Sreekumar of Koothumaadam Centre for Indian Culture and Theatre, the Delhi-based group under the aegis of which the reception was held. “The stars draw more attention to the stage,” he added.
Prasanth’s works have always been experimental and each one quite different from the other, exploring the subtle nuances of modern lives through the perspective of ancient and folk legends. His theatrical journey that began at the age of 19 with an Attakatha is now 26 plays old and still ticking.
