Penned by two playwrights, one from central Kerala and the other from erstwhile Travancore, ‘Rajasooyam’, is exceptional in the sense that two villainous characters – Jarasandha and Sisupala, have an awe-inspiring presence in this play. The rest of the characters including Krishna, Bhima and Arjuna are relatively insignificant in terms of theatrical space and thematic growth.
ADVERTISEMENT
Lakkidi Elayidath Namboodiri’s version of ‘Rajasooyam’, which is immensely popular in Kathakali circles, was recently staged at Changampuzha Park, Kochi, in connection with the sixth death anniversary of the late percussion maestro, Kalamandalam Kesavan.
The abridged presentation began with the entry of King Jarasandha who, through elakiyattam (a form of structured improvisation), recollects his gallantry and achievements one after the other. Kalamandalam Soman, as Jarasandha, did a fine job of identifying with the conceit and pomposity of Jarasandha who is surprised by the audacious entry of the three Brahmins to his palace.
Krishna, Bhima and Arjuna disguised as the Brahmins become interesting objects for Jarasandha. The depiction of the humorous undertones of the conversation between Jarasandha and the three was a rare treat for viewers.
ADVERTISEMENT
The segment in which Jarasandha laughs at himself for misjudging the ‘three Brahmins’ was proof of Soman’s artistry. The segment reminded connoisseurs of the legendary Vellinezhi Nanu Nair’s performance in the same role and in the same sequence. The audience watched with bated breath for Jarasandha’s duel with Bhima and the former’s tragic end as Bhima tears him asunder. An innate culture of disciplined movements and controlled expressions, which Soman has in abundance, did not stand in the way of his ‘free style’ enactment of the role of Jarasandha. His kalasam at the end of the last charanam, and his abhinaya through the upangas, especially eye-expressions, disarmed the spectators. FACT Biju Bhaskar as Bhima did justice to his character and so did the others in their roles.
Having heard about the brutal death of his close friend, King Sisupala sets out to the venue where the Rajasooyam was being held. Kalamandalam Pradeep as Sisupala appeared majestic, especially in the introductory scene followed by his encounter with Lord Krishna.
His pakarnattams (multiple impersonations) in the Gopivastrapaharanam was a journey into the vyabhichari bhavas (transitory expressions). Pradeep successfully retained the Veera rasa of the Pratinayaka (anti-hero) from the beginning till the end.
Vocal music is not pronounced in ‘Rajasooyam’. Yet, Kalamandalam Rajendran and Kalanilayam Vishnu sang the slokams and the padams with ease and conviction.
Chenda players Kalamandalam Venu Mohan and Ravi Sankar traced on the percussion even the smallest of movements and expressions of the characters. The performance, on the whole, was a befitting tribute to Kalamandalam Kesavan, a multi-faceted artiste.