R
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ecently I watched a Hindi play Ravanleela at Matunga in
Mumbai. Yatri presented the play
directed by Om Katare. Dr Kusum Kumar has written the play.
This is about
Ramleela, performed by a group of countryside artistes at a rural area. The
Ramleela goes wrong in whatever way it could, ultimately Ravan gaining an upper
hand over Ram. Hence it is Ravanleela. And the escapades in the process leave
you in splits.
The play that has
the plot of Ramleela, begins with the story of Ravan. The crowd is agitated
over the delay in the commencement of Ramleela.
The manager has to bore the brunt of their angst as he has to manage
with a bunch of untrained and unenthusiastic actors put together for the annual
ritual called Ramleela. For the rustic
actors Ramleela is just like any other ritual more than performance.
Lack of
coordination between the Ramleela actors and the background score and the
quirky behaviour of the artistes evoke peels of laughter. Their professional equations at times turn
personal on and off stage.
Persuading the
now on now off Kartar Singh to act out Ravan is indeed a tough task for the
manager and the other actors. Weighed down by a personal peeve of a leaking
roof of his home, he asks for a hike in remuneration, which, the manager feels
unreasonable.
Ultimately Ravan turns to be a “show
stopper” by refusing to die at the end unless he was paid more. The audience
simmers with anger. Once the helpless
manager gives in to his demand, Ravan not even waits for Ram’s arrow, he stabs
himself with his sword.
But for
Vibheeshan, all the cast was good.
Vibheeshan lacked spontaneity.
Audience just loved Ravan, not because he was Ravan, but he was Kartar
Singh. Kartar Singh’s easy transformation from a much-worried amateur artiste
to a hilarious Ravan within no time is commendable.
Taking a dig at
the hype over culture, a worried Kartar says no culture is superior to the
culture of earning one’s daily bread.
Nothing precedes the culture of two square meals a day. That draws home the point.
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