In an experimental attempt, Sadanam Balakrishnan gave Euripides’s story a Kathakali tweak.
The rhythm of the percussion instruments permeated the space, drawing the rasikas’ focus on a colourful thiraiseelai that held promises of a make-believe world.
It
opened with an introductory Purappadu, and the audience was introduced
to Hela and Manodhan, the lead pair of the Kathakali performance,
‘Hela’, in the premiere show at Rukmini Arangam, Kalakshetra.
Directed
by veteran Kathakali exponent Sadanam P.V. Balakrishnan, ‘Hela’ was
based on the Greek tale, ‘Helen’ (Helen of Troy) by Euripides. The play
had many similarities to the Ramayana and lent itself with ease to the
theatrical form of Kathakali.
Sadanam, in the role
of artistic director, looked into every aspect of the production, from
translation of lyrics to costume designing and choreography. He not only
suitably adapted and condensed the story but also trained many of the
artists, who are not full-fledged Kathakali dancers, for this show.
Although the grammar of the art form was maintained, the nuances of
abhinaya and lyrics seen in the traditional performances were
underplayed.
The dancers performed their roles with
conviction keeping the interest alive. The first scene offering an
insight into the psyche of Hela and her dilemma about her birth, was
noteworthy because of Vidya Girish’s sensitive portrayal.
The
depiction of the neck and wing movements of Hamsa was captivating. P.T.
Narendran as Manodhan also impressed with his subtle abhinaya and his
delineation, drawing a parallel between the locks of his beloved’s hair
and the dark rain clouds.
The
two dancers moved gracefully through the warfare movements with
suitable romantic expressions, in their depiction of sringara rasa to
make it an aesthetic experience.
Viraja Mandhre as
Thoyaja, Haripadman as Thoyodbhavan, K.M. Jayakrishnan as Nyasthan and
the other dancers (Sridevi Jayakrishnan and Sharada Acharya as the
chorus; Sanjit Lal, Sai Krishnan, Amal Nath and Mukundan as messengers/
soldiers) were convincing in their roles.
The visual
splendour of the Kathakali form was seen in the entries of
Thoyodbhavan, and Thoyaja. There were also subtle changes in costume and
simplification of some characters.
In terms of
music, the appropriate use of ragas such as Nilambari, Thodi, Atana and
Kalyani the production made a lasting impact. The sound effects of
warfare also enhanced the visual proceedings.
In
certain sequences such as the fight on the boat, the choreography did
not impress, although the director drove home the messages about war,
its impact and futility, and about love being able to conquer everything
finally.
Musical support was by Sadanam Shivadasan
and Srerag Verma, Sadanam Jayarajan (maddalam), Sadanam Ramakrishnan
(chenda), Sadanam Jitin (edakka) and Pradeep Pattambi (kombu).
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