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).
Published - July 21, 2016 03:53 pm IST
