The birth anniversary of Pattikkamthodi Ravunni Menon was celebrated at Gandhiseva Sadanam, Perur near Palakkad. Menon, considered one of the chief architects of modern-day Kathakali, focussed on maintaining the methodology and craft of this art form. Seminars, a session on Cholliyattam, award functions and a night-long performance of Kathakali were the main attractions of the programme.
The Kathakali performance began with a traditional purappad and mela padam by Kottakkal Madhu and Nedumpalli Rammohan. The rendering of the padam ‘Chalamalaya mrudupavana' from Jayadevan's ‘Geethagovindam' was the highlight of the recital. The same padam, sung in 18 different ragas, won the appreciation of the audience. Performances of ‘Kuchelavritham,' ‘Thoranayudham' and ‘Abhimanyu' followed.
Sadanam Krishnankutty and Pariyanampatta Divakaran enacted Lord Sreekrishna and Kuchela in ‘Kuchelavritham.' Krishnankutty's flexible body and expressive face came to his help during the recital. However, he deviated from the methodology of the performance and his attempt at innovation during the padam ‘Kalayamisumathe bhusuramaule....' fell flat.
Tale of two friends
The play narrates the story of Krishna and Kuchela, two schoolmates who were meeting each other after a long time. Although Krishna was the lord of Dwaraka, he does not let that stand in the way of his affection for the impoverished Kuchela. Divakaran, as Kuchela, came up with a sterling performance. Kalamandalam Kalluvazhi Vasu donned the role of Rukmini.
Kalamandalam Vasu Pisharodi was superb as Azhakiya Ravana in ‘Thoranayudham,' which followed the recital of ‘Kuchelavritham.' ‘Thoranayudham' deals with Hanuman's journey in search of Sita and his battle with Ravana. Excerpts of the play were enacted.
The first scene shows Ravana getting upset about the ‘heat' that is affecting his body and mind. This famous attam, called ‘Himakaram' is taken from ‘Thoranayudhamkam' of Koodiyattam. Eventually, Ravana realises that it was Sita's presence in Ashokavanika that was disturbing his equilibrium. So he decides to meet Sita and bare his heart to her.
In the second scene, Ravana tries to win over Sita by boasting about his valour and by giving her gifts. Pisharodi, a specialist in kathi (negative roles) veshams, marvellously presented the two scenes. To essay Azhakiya Ravana, an actor needs both accuracy and acting skills in equal measure. Pisharodi's experienced and clear portrayal of the lovelorn king was akin to an acting manual for young artistes.
The third and final performance was that of ‘Abhimanyu,' written and choreographed by Sadanam Harikumar.
Although the central character in the story is Abhimanyu, Duryodhana, Dussasana, Karna and Drona appear in the play. The three-hour play ends with the brutal killing of young Abhimanyu. Sadanam Bhasi played Abhimanyu; he was in excellent form. His adroit footwork, and speedy kalasams were a treat to watch.
Kalanilayam Balakrishnan, Sadanam Manikandan, Sadanam Krishnadas and Sadanam Vishnunath essayed the main characters in the play.
Sadanam Harikumar, Sadanam Sivadas and Sadanam Jyothishbabu were the singers for the play while Kalamandalam Prabhakaran Poduval, Kalamandalam Unnikrishnan and Sadanam Ramakrishnan were the main chenda artistes. Kottakkal Ravi, Sadanam Devadas,and Sadanam Bharatharajan played the maddalam.
