Nalacharitham is a favourite of Kathakali connoisseurs on account of its multifaceted charms. It represents the confluence of an excellent play-text, dramatic effects emanating from emotional conflicts and, above all, seemingly infinite possibilities of showcasing dexterity in histrionics and singing. In reputed training centres such as Kerala Kalamandalam, only select scenes of Nalacharitham have found a place in the curriculum for acting.
The main theme of the five commonly staged scenes of Nalacharitham Naalamdivasam is the happy reunion of Nala and Damayanti. The performance, as usual, opened with Damayanti, awaiting her beloved Nala’s arrival in Kundina as the charioteer of Rituparna, and sharing her thoughts with her companion Kesini.
Kalamandalam Vijayakumar and Madhu Varanasi as Damayanthi and Kesini in a scene from ‘Nalacharitham Naalamdivasam’
Kalamandalam Vineeth’s deft fingers replicated her heartbeats on the maddalam. His energetic presence on the right front of the stage was conspicuous throughout the performance.
Damayanti is torn by confusion when she sees the dark-skinned charioteer because she knows only Nala could drive a chariot as fast as the wind. But the charioteer did not resemble her husband at all. Kesini tries her best to discover the charioteer’s real identity.
Bahuka’s super-human powers that help him to press into service at his will natural elements such as water and fire and to freshen faded flowers were reported to Damayanti, who became convinced that he was none other than Nala.
Finally, all is well that ends well and Nala and Damayanthi are reunited. Although entitled Nalacharitham , the episode hereby comes to a close as Damayantivijayam (Victory of Damayanti).
Innovative acts
Kalamandalam Vijayakumar and Kalamandalam Shanmukhan enacted the roles of Damayanti and Nala (Bahuka). Shanmukhan did full justice to the play text and enhanced the presentation on several occasions with innovative improvisations. Shanmukhan’s soliloquising on his prior experiences, however, appeared too lengthy, resembling the nirvahana of characters on a Koodiyattam stage.
It goes without saying that every art form should strive to rise to excellence by adhering to its own domain.
When Kesini tells Damayanti how Nala revived faded floral decorations on the chariot with his mere touch, the latter remembers her husband doing the same with the flowers that she used to decorate her hair.
Vijayakumar and Shanmukhan excelled as always in their make-up and costumes, and gestures and movements that were in perfect harmony with the rhythm. Madhu Varanasi’s responses as Kesini was appropriate at every stage of the play.
Hareesh and Krishnakumar rendered the songs and quatrains in the play text laudably but for a few errors in pronunciation. The chenda’s role in the scenes concerned was confined to the occasions when Nala was on the stage; the task proved too light for Venumohan.
Vineeth’s maddalam followed the actions on the stage and the emotions of the characters.
The programme was organised under the aegis of Drisyavedi.
