Kalyanasougandhikam Kathakali, penned by Kottayathu Thampuran, is a popular attakkatha as the tale and the characters are familiar, and the literature, easy to understand. Thampuran has adapted the ‘Vanaparvam’ (life in exile) of the Pandavas from the Mahabharatha , for this play. While a total staging of the play takes six hours, usually, it’s the part where Bheema meets his brother Hanuman in the forest that is performed.
Palakkad Kathakali Trust recently organised the performance of Kalyanasougandhikam as part of their monthly programme. The play started with the padam ‘Panjala raja thanaye…,’ which shows Bheema and Panchali in a romantic interlude.
Apt improvisations
Kalamandalam Pradeep donned the role of Bheema. Pradeep strictly adhered to the framework in continuation of the Kalluvazhi tradition. He makes an entry on stage by holding Panchali’s hand. Next came the ‘nokkikkanal’ (usually, a nayaka’s or nayika’s appreciation of each other by using their eyes) and a padam in slow tempo. Pradeep’s gestures and expressions were in sync with the padam. His simple yet timely improvisation in the stanza ‘Chanchadi modam kalarnuu...’ was spot on. The gestures used to express the word ‘charu pavanan’ (cool breeze) provided symbolic glimpses of his father’s pervasive presence. Pradeep maintained the same level of energy and enthusiasm in the manodharmam too. The elephant-snake-lion episode conveyed Bheema’s inner turmoil.
Pradeep’s ability to handle tough roles was depicted in his scene with Hanuman. The padam ‘Kauravan marodu...’, displayed his annoyance towards Hanuman.
Kalamandalam Pradeep as Bheema and Kalamandalam Sooraj as Panchali
Kalamandalam Sooraj’s Panchali was, however, rather average. Although, the character looked beautiful on stage with a nice costume, his mudras were not in sync with the rhythm. Sadanam Bhasi did a fine job as Hanuman. In most plays depicting Hanuman, the character makes his entry at the thiranokku . In Kalyanasougandhikam , Hanuman enters the stage only after Bheema exits in the first scene.
Bhasi started his performance with a meditating Hanuman. His manodharma attam , which described the reason why Hanuman interrupted his meditation, was excellently staged. In the stanza ‘Khedena Kesarikal…’ in the padam ‘Aariha varunnathu evan…’, Bhasi did a fine job of acting like a lion. His ashtakalasam was a speciality of his performance.
While the actors tried to make the play a success, the percussion artistes could not meet their standards. Jishnu Orupulassery and Kottakkal Vineesh who sung the lyrics, seemed to be out of their depths. Jishnu, however, followed the strict discipline of ragas and tala while singing the padams.
Kalamandalam Vaishakh did a good job in accompanying the actors on the maddalam. Kalamandalam Raman Nambudiri was on the chenda. However, nothing dampened the performance by Kalamandalam Pradeep and Sadanam Bhasi. The duo took it as a challenge and made a mark of their own by producing a remarkable show.
The programme was held at MD Ramanathan Hall.
