A mythological drama, with dialogue and verse, reminiscent of stage plays of the sixties, Varudhini staged to a post-millennium audience was neither obsolete or out of place. On the other hand, the elite, educated viewers sat rooted to their seats engrossed in the play as the story unfolded with every change of scene. The story originating from Markandeya Purana is based on Manu Charitra (by Alasani Peddanna) and one would presume that it bears no relevance to the present times. On the other hand, classic literature in any language, was so called because it’s appeal and applicability was universal and hence it is timeless. To be able to bring in this universality on stage is no mean achievement and Varudhini did this and much more.
For one, the backdrops were as natural and period-pertinent as could be. A thatched hermitage gave us the impression of a real replica while there was hardly any concrete structure on stage. The backdrop of the snowy Himalayas with its undulations created the illusion of cold mountains with just a few lighting techniques in play. The period costumes with their sober hues seemed just right; the live orchestra seated surreptitiously below facing the stage gave the right impetus to the moods and happenings in the drama, without making it sound loud and rustic. Above all, towered the actors who were able to sing and converse with each other as their characters demanded in full throated melodic voices rich with emotion.
The story is well-known to GenX: A divinely beautiful damsel (Gandharva kanya) falls in love with a handsome Brahmin Pravarakhya who is wandering in the Himalayas. She tries to entice him but faces a rebuff as he is a married man with clean intentions. Another youth of her own clan (Kalashambhara) who is in love with her, makes the best of this situation, by impersonating himself as Pravarakhya and seduces Varudhini who falls a prey to his vile. She delivers a son (Swarochi) and her so-called husband gives the slip on a pretext that his earthly family is in deep trouble and are awaiting his return. Varudhini is left with no choice but lead a lonely life with her little son. A series of incidents lead to a curse by a sage that deforms Kalashambara whose redemption is pronounced to be in the hands of his son Swarochi. It is at this juncture that Lord Indra reveals to Varudhini the story of deceit, seeks her pardon for Kalashambara who repents his sins and seeks out his son and wife. All’s well that ends well. Oblivious of these happenings the real Pravarakhya, we are to presume, leads a righteous life of a householder. Moral of the story: indiscreet passion is ruinous.
The actors vied with each other giving their best performance. ‘Saveri’ Bhavani as Varudhini with her exceptional histrionics and glossy costume suited the role. She carried the seemingly erotic dialogues and body language with aplomb, vesting it with a veneer of dignity. The minutest slip on her part could have crossed the line of vulgarity but she handled her character with maturity.
Vijaykumar as Pravarakhya emerged a good singer with a marvellous voice and reach. P. Venkateswarulu as Kalashambhara/pseudo Pravarakhya was naïve as an actor, as his expressions made it evident all through that he was an imposter. The hermit Brahmahita, portrayed by Chandrasekhar, was a character who could dish out curses at the drop of a hat, so unlike an ascetic. Master Yashwanth turned out to be a good singer and an expressive child actor and drew instantaneous applause. The richness of Telugu language and the diction and dignity with which it was rendered by each actor was the mainstay of this drama. The constant reference to the nature of human beings vis-à-vis the celestials was a thoughtful piece of interpolation as is the issue of Ayurveda vidya. Varudhini’s reflections on love ( valachina kantha leppudu vidichi vellaru ) and philosophy that comes out of hindsight, are valuable insights. This six Nandi award winner put together by Chaitanya Arts at Ravindra Bharathi was a worthy watch.
