Play Two plays presented as part of ‘Kalarchana’ celebrations by Bharateeyam were a treat. GUDIPOODI SRIHARI
The title ‘Amrutam Taagina Rakshasulu’ is self explanatory of its intent of the demonic corrupt in state administration. The title means unpunished corrupt are like demons who swallowed elixir called ‘Amritam’ that gave them invincibility. What would happen to an honest person in this corrupt world is the central theme of this play staged at Ravindra Bharati as part of ‘Kalarchana’ celebrations of Bharateeyam. This was presented by Natyanjali, Hyderabad and directed by J. Ramana,
In dealing with this subject playwright Srisailamurthy puts in focus the life of one Gopalam and his wife Janaki, both doctors living abroad for a long time and return to India with their son with great passion for Indian culture they were missing this long. But their experiences prove otherwise commencing from the trouble they undergo in registering a house they bought facing demand for bribe and later an electrician displaying his art of extracting money.
N. Saratkumar as Gopal around whom the entire drama was woven, Kalpalatha as his wife Dr. Janaki gave sterling portrayals. B. Sudhakar as electrician, Varaprasad as SI Bose, J. Nageswara Rao as a Naxalite, Ramanamurthy as Gopal’s uncle acquitted themselves well. Their characterisation, timing and connecting with audience was a marked achievement.
Story of Yogi Vemana and his moralistic verses are still on the lips of many including children; but nothing is clear as to why he fell out of Kodaveedu Royalty and why he renounced princely life and took to asceticism.
The only visual source for this is a film,with Chittoori V. Nagaiagh playing this role. Playwrights tread a different path as regards to what role of the harlot: this play calls her a Viswada, and why he fell for her charms and later got out of it.
Inspiration for the names of the characters comes from the signature line ‘Viswadabhirama Vinura Vema’.
However, this new play on Vemana written by D.Vizaibhasker and Burra Subrahmanya Sastry (verse part) and directed by Gummadi Gopalakrishna, who also donned title role, is now in circulation receiving good response for its dramatic element. Since this play’s birth, Gopalakrishna was seen continuously striving to better theme’s authenticity and its musical content. Multiple roles are well-handled with simple mannerisms and exaggerated vocal styles and verse rendition, clearly defining well each of the characters.
This was produced under the banner of Satyasai Kalaniketan.
This engaging play was put on boards at Ravindra Bharati, last week as ‘guest play’ in the schedule of Kalarchana of Bharateeyam festival. Gopalakrishna’s powerful singing voice with heightened emotions and Vemareddi’s concubine, Viswada added dramatic verve with disarming candour stood by the drama.
All the artistes being good at dramatisation, their characters emerged with life.
The artistes who figured in the drama were Kota Satyanarayana as King, G.B. Ramakrishna Sastry as Nyayadhipati, Sudhakarbabu as Rajaguru, Surabhi Prabahavati as Viswada and Padmapriya as queen Narsamamba left indelible impressions. Malladi Bhasker, Venunatham, Pundarikashudu, M. Sriarama Raju, Srinivas and T. Lakshmi were in other roles.
Paremesh and Venkataswami were make-up men. Puvvula Srinivas was on harmonium with Veerabrahamam on dolak.