Keechaka cuts a dashing, though, tragic, figure on the Kathakali stage. Kerala's cultural history and verbal folklore are resplendent with stories of romantic heroines of royal or aristocratic lineage who were enchanted by Keechaka's super human strength, charm, and sensuousness. Confidence to don the role of Keechaka is often seen as the consummation of a gifted actor's regular and rigorous training and painstaking practice. To shine as Keechaka is the dream cherished by many actors who specialise in kathi vesham.
Popular play
‘Keechakavadham' (The Slaying of Keechaka) is one of the most popular of Kathakali stories. All accomplished singers love to present ragas such as Kamboji that explore all their nuances, and often embellish the rendering with virtually endless sangatis, while they handle Iriyamman Thampi's exquisite padams such as ‘Harinaakshi janamauli…,' which enhance the dramatics of the play. No wonder maestros such as Chembai Vaidyanatha Bhagavathar loved to include this piece and other compositions of Thampi's in Carnatic concerts.
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In the kingdom of Virata, Keechaka, the commander-in-chief of the forces, reigns supreme. Reputed to be endowed with the strength of 10,000 elephants, Keechaka, along with his 100-odd younger brothers known as Upakeechakas, dominated the capital, from the day of King Virata's wedding to their only sister, Sudeshna. As the King was a weakling and fairly old, the stability of the throne was dependent on the matchless strength of Keechaka. The crown prince, Utharan, was known for his bragging and for his amorous adventures within the secure walls of the harem.
This was the scenario in the capital of Virata when the Pandavas, along with their common wife Draupadi, arrived there incognito to spend one year unnoticed by Duryodhana's spies. Malini (Draupadi in disguise), the new attendant to the Queen, stands out for her exquisite beauty and every man there is smitten by her, especially Keechaka. He hears rumours that Malini was the common consort of five demi-gods (gandharvas), and it intensifies his infatuation for her. After all, it is said that a gandharva chooses as his consort only damsels of outstanding grace and prowess.
‘Keechakavadham' is the debut Kathakali attakatha of Thampi (1783 – 1856). The author was just 19 years old at the time, but the play is one of exceptional artistic excellence. On Keechaka's meeting with Malini, the ‘padaabhinayam' (acting of the text) begins with her name, already known to him, sung most endearingly in raga Padi. The same name resonates in Bhairavi as his final utterance, just before he is crushed to death by Bheema. However, the valiant hero's fascination for Malini was certainly, not the outcome of uncontrollable lust. When he first sees her itself, he proposes to her: “Oh! One with limbs soft like tender leaves and gait graceful as that of a swan! Enough of your sufferings. Please be my better half and enjoy with me all comforts.”
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The concerned charanam ( pallavaamgii nii ingane allal thetiitaathe mallikaakshagathe mama vallabhayaay vaazhka ), however, is sung only in the Southern style of Kathakali, codified by stalwarts such as guru Chengannur Raman Pillai and practised even now with meticulous care by top artistes such as Madavoor Vasudevan Pillai.
Incorrigible nature
Sadanam Krishnan Kutty did not take on this aspect of the characterisation of Keechaka in his recent presentation of the play in Thiruvananthapuram. The mighty commander-in-chief appeared to be just an incorrigible scoundrel, who had absolutely no hesitation or shyness in crossing all boundaries to satisfy his lust, paying least regard to the victim's helplessness and her strong aversion to him. Krishnan Kutty's depiction of Keechaka as using a modern type of perfume sprayer rather than the traditional sprinkling of rose water was inappropriately anachronistic. Such drawbacks were, however, submerged in the veteran artiste's manifestation of astonishing mastery over most aspects of acting in Kathakali.
As always, Margi Vijayan's Malini was impeccable. Attingal Peethambaran's Valalan (Bheema in disguise), Margi Harivalsan's Sudeshna, vocal support provided by Kalamandalam Sajeevan and Kalamandalam Ajesh, and the instrumental accompaniment by Margi Venugopal (chenda) and Margi Ratnakaran (maddalam) stood the performance in good stead. The performance was held under the aegis of Drisyavedi.