Manikam Achari, a sthapathi known for his expertise in sculpting bronze icons is entrusted with the job of restoring a 1,000-year-old Nataraja icon, belonging to the Chola era, in Rajanallur village. The achari, overcome by greed and misguided by some unscrupulous elements, creates a replica of the icon while selling the original for a hefty sum. The icon changes many hands and finally ends up in a museum. Media attention puts it under the spotlight again. After a legal battle, it is brought back to the village.
Kumin Chirippu (Shiva’s Smile), which was premiered recently by S.B. Creations, was presented in collaboration with Sri Parthasarathy Swami Sabha, Brahma Gana Sabha and Kartik Fine Arts at the Narada Gana Sabha.
Drawing references from the famous case of the stolen Nataraja idol, the subsequent legal battle, and the significant testimony provided by well-known archeologist and scholar R. Nagaswamy, playwright Sujatha Vijayaraghavan woven an engaging narrative, bringing alive the emotions behind this story. S.B.S Raman, the director of the play, has effectively adapted the script to the stage.
SB Creations’ Tamil play, Kumin Chirippu, staged at Narada Gana Sabha on May 6, 2023. | Photo Credit: SRINATH M
The scenes move seamlessly with the actors conveying well through their expressions and dialogue delivery. The courtroom sequences are particularly impactful.
The digital screen in the backdrop with appropriate visuals such as of the village, jail, temple and museum adds to the appeal. But the movement of people during scene changes that appear as shadows on the screen is disturbing.
Seamlessly woven scenes
Raja Mansingh as Manickam Achari portrays the many shades of the character with conviction. H. Sathya as landlord Kumaraswamy, Sethu as inspector, and Senthil Kumar as Gopal impress with their realistic portrayals. S. Radhakrishnan, who plays the role of Roger Williams, an art historian, is equally impressive. Subtlety would have added finesse to Dharma Raman’s portrayal of Chellamma. The other supporting actors do a fine job too.
However, care should have been taken to make the replica look like the original since this forms the premise of the play. Also, in one of the introductory scenes too many dialogues in colloquial language mar the effect. The appearance of Shiva performing the Tandav (by Nideesh Kumar) when the sculpture moves from the achari’s workshop, and at other key moments during the play, is an interesting idea but needs a little more fine-tuning to integrate it well into the story.
Music and sound design are by Bharadwaj Raman, lighting design by Charles, make up by Perambur Kumar and renditions of Saivaite hymns are by Vijay Siva and T.S. Ranganathan. The seventh century Saivite saint Appar’s description of the enigmatic smile of Shiva, as visualised in the bronze figurine, (Kunitha puruvamum, kovvai chevaair kumin chirippum) has inspired the title of the play.
