Kalakshetra Foundation inaugurated its aesthetic new open-air theatre, the stage of which is built around a Gulmohar tree to emphasise the ideology of Nature sparking creativity, for its home production, ‘Bakavadham.’
The open-throated melody from Kalamandalam Madambi Subramanya Namboodiri and Sadanam Sivadasan, combined with Guru Sadanam Balakrishnan’s finely-chiselled performance to create a poetic experience.
As the Senior Visiting Fellow in Kalakshetra, Balakrishnan Asan led the team of young Kathakali aspirants. He is a well-known performer and teacher with perfection as his credo - in technique, and in his mastery over facial muscles and breath-control, both of which create subtle nuances and sustain expressions in story-telling.
Balakrishnan Asan had chosen the second part of ‘Bakavadham’ that deals with the short-lived romance between Bhima and Hidimbi. This is not often presented perhaps because it requires more finesse to handle the erotic poetry and also that audiences may prefer the comic-dramatic killing of Bakasura to a soft, sensuous romance.
‘Bakavadham’ is one of the four Kottayam stories based on the Mahabharata written by Kottayam Thampuran.
The dance-drama commenced with an ensemble Purappadu (invocation- ragamalika) with three pairs of Krishna-gopi; they were behind the curtain, swaying in unison to the music after which rigorous steps took over. The youngsters were well-coordinated and agile.
Enter a murderous Bhima (Hari Padman) seeking to avenge the Kauravas’ misdeeds in ‘Aggraja niyogi kenam’ (Kedaragowla); Dharmaputra (Girish Madhu) tries to calm him down. Both actor-dancers were expressive. Hari Padman’s characterisation was more complex- when he feels dejected after being refused permission to kill, he puts the mace down, sadly, in a well-timed improvisatory segment. Another instance was when Bhima's anger rises again and he shouts at an imaginary Duryodhana. He alternated between glancing meaningfully at his mace and then at the enemy many times. Hari Padman's kalasams also showed good technique.
Balakrishnan Asan’s portrayal of Bhima senior, first as a bewitched hero and later as a tearful but stoic husband and father letting go of his beloved family, was masterly - a study in maturity, restraint and artistry.
After Vedavyasa's instruction to Bhima to look after Hidimbi, romance blossomed between them in the beautiful Todi padam, ‘Chenaar needum ninte mukham,’ that turned out to be one of the musical highlights. It was followed by the erotic padam, ‘Chenthar bhana manicheppum’ (Paadi), that was performed delicately and unhurriedly. Balakrishnan Asan treaded perilously when he looked at Hidimbi from tip to toe and admired her voluptuous figure openly. There was no embarrassment there, just a faithful adherence to the author’s intent. Sharada Acharya as Hidimbi ought to be commended for her performance.
Their child, Ghatotkacha’s (Sibi Sudarshan), thiranokku presentation was accompanied by his alarrca, demonic cries, and frenzied percussion (Sadanam Ramakrishnan- chenda, Sadanam Devadas- maddalam); a marked difference from the earlier soft mood. Sibi impressed with his confidence and agility.
The tearful leave-taking in a soulful Kalyani, ‘Swasthi bhavathu thae soono,’ brought out Balakrishnan Asan’s sensitive study of human emotions. Terrance as Veda Vyasa was dignified. Chutti was by Kalamandalam Sateeshan.
