It is quite unusual to watch three plays centred on Ravana being staged as a theme on Kathakali stages. Thus the night-long staging of ‘Ravanathrayam’ (‘thrayam’ means three) at Gandhi Seva Sadan, Peroor, near Palakkad, was an interesting opportunity for the audience to see different facets of the King of Lanka. The performance was organised in connection with the fifth death anniversary of legendary Kathakali actor Keezhpadam Kumaran Nair, who spent many years as a tutor at Gandhi Seva Sadan.
Kumaran Nair had experimented with the aesthetics and choreography in Kathakali without tampering with its basic format, though his new techniques and styles took time to be accepted by enthusiasts of Kathakali.
The show began with a Purappadu by students of the institution. ‘Kamaladalam’, an excerpt from the story of ‘Karthaveeryarjuna Vijayam’, was enacted first followed by ‘Balivijayam’. ‘Kamaladalam’ depicts how Mandodari, Ravana’s wife, is worried about her dream in which she saw Ravana romancing celestial nymphs (apsara) such as Urvashi. Ravana succeeds in pacifying his wife.
The next scene shows Narada instigating Ravana into a fight against the powerful Bali. An incensed Ravana is all set to fight Bali, when Narada asks him about the sword Chandrahasam, which the King received from Lord Shiva. Then Ravana goes on to describe the story of how he got the sword. This act is called ‘Kailasodharanam-Parvathiviraham’ (manodharma) in Kathakali.
While Sadanam Balakrishnan, a senior disciple of Kumaran Nair, essayed the role of the romantic Ravana in the first part, Kalanilayam Balan, principal of Sadanam Kathakali Academy, enacted Ravana in the second part. Balakrishnan was seen using all the new kalasams his master had introduced. The acting of the padam ‘Kamaladala lochane...’ in sringara and ‘Daasiyaakum Urvashiye...’ in veeram were outstanding. Balan, on his part, was at his best in the one-and-a-half-hour-long performance. Kalamandalam K.G. Vasudevan, another disciple of Nair, donned the role of Narada and Sadanam Vijayan Warrier appeared as Mandodari.
The second play ‘Ravanothbhavam’ saw Sadanam K. Harikumar, a versatile artiste and a disciple of Kumaran Nair, enacting Ravana. The story narrates young Ravana’s evolution as the mighty king through penance to Lord Brahma. The act is a challenge for any artiste. It needs a lot of stamina and energy to perform continuously for two-and-a-half hours. Harikumar, not a regular performer of vesham, managed it without any glitches. His brilliant presentation of ‘Thapassattom’ (doing penance) and small improvisations in between were impressive. The percussion played an important role, especially with Kalamandalam Balaraman, the veteran chenda artiste, supporting well the actors.
The final story was ‘Balivadham’. Narippatta Narayanan Nambudiri, yet another illustrious disciple of Nair, performed the lead role of Ravana. Sadanam Bhasi (Ram) and Sadanam Krishnadas (Jadayu) were the other performers.
The musical element stood out throughout the performances. Madambi Subramanian Nambudiri and his disciple Kalamandalam Narayanan Nambudiri marvellously rendered the first story, ‘Kamaladalam’. Some eminent artistes such as Sadanam Vasudevan (chenda) and Kalamandalam Mohanakrishnan (music) also participated in the event.
