An actor-turned-director and an alumnus of the National School of Drama, Surendra Sharma has been staging novels for nearly a decade, giving a distinct colour and tone to the Hindi stage, rekindling the interest of discerning audiences in Hindi classics. Some of his stage adaptations from novels include “Rangabhoomi” (2002), “Maila Anchal” (2003), “Boond Aur Samundar” (2005) and “Nirmala” (2006). “Rangabhoomi” by Prem Chand, produced by Rangsaptak under the direction of Surendra, evoked critical appreciation and had a number of shows across the country. While faithfully capturing the vast canvas of “Rangabhoomi” with the contradictions of Indian society of the ’30s, Surendra infused it with contemporary relevance.
In his latest production he once again offers stage versions of three stories by writers whose visions were influenced by Gandhian thought and the anti-imperialist struggle. “Jee To Lain”, which he produced for Navrang, the dramatic society of Shyama Prasad Mukherjee College, and presented at Shri Ram Centre this past week, focuses on the plight of widows, stressing their right to lead a meaningful and happy life.
The evening began with two stories — “Dhikkar” and “Nairashya Leela” — by Prem Chand. This was followed by Vishwanath Pathak Dwireph’s “Khemi”. The director has followed the conventional device of storytelling by a granny to a group of children, ever eager to hear more and more. In the course of narration, important scenes are enacted on a bare stage. The director has been able to treat some sequences with a light touch, which offers some amusing moments, despite the serious tone of the narrative.
Innocent victim
In the first story, Maani, an innocent girl, becomes a widow and remains unaware of the stigma attached to a widow by a conservative society. She continues to behave just like unmarried girls, and a bevy of women assembles, castigating her conduct. They are presented as caricatures, exposing the kind of women who spread scandal and gossip about their neighbours. The second story, in which Maani enters the guest room to serve water and is insulted by her aunt, powerfully reveals the inhumanity of society towards widows who are supposed to be kept at bay during auspicious occasions. It shocks the audience. The director brings to the fore Prem Chand’s belief in the essential goodness of human nature. However, one feels he should have transformed Prem Chand’s timid Maani into an assertive one to be in tune with the fast changing contemporary social landscape.
Inspired by Gandhian thought, Dwireph, a Gujarati writer, portrays a young girl, Khemi, drawn from a caste which does not consider a second marriage by a widow as taboo. Here Khemi is shown as a bold, courageous young woman deeply in love with her husband. When he dies, she works hard to fulfil his wish to worship the local deity. Young and full of life as she is, there are many suitors for her hand, but she refuses to oblige them and prefers to remain single for the sake of her freedom. The director’s aim appears to be to illustrate the story in a straightforward manner rather than to interpret it with intricacy.
Arpana as Maani in the first story vividly creates many facets of a child widow, innocent of the tragedy that has befallen her. In the second story she imparts to her character a touching pathos. Smriti as Khemi carries off her scenes in an effortless manner, exuding romance, repentance, bitterness and integrity in turn, determined to lead an honourable and independent life. Bharti Kharbanda as Granny, the narrator, is witty and knows how to sustain the interest of listeners throughout.
