The story of AMAR FAL is about Raja Bharthari, the famous king of Ujjain in 1st century AD, and who even today is revered in different parts of North India. Raja Bhartari's story is like a mystery often manifesting itself in the form of myth or folklore. It has several interpretations and director Manoj Shah presents his interpretation of this myth in the play AMAR FAL.
The play tells the story of how Raja Bharthari was 'the chosen one' for the sacred fruit of Immortality - the Amarfal. The Amarfal is presented to the king by a Brahmin as he considers his monarch worthy of such immortality. The king hands over this fruit to his wife Rani Pingla out of blind faith and love for her. However, the queen gives the fruit to Mahipaala, the head police officer of the state while Mahipaala hands it over to his beloved Lakha. Lakha is in love with the King. Thus, the Amarfal returns to the King, leaving him bewildered and exposed.
The King discovers the sad truth of the false world that he has created around him. He condemns his own actions and is gripped by such grief that he renounces his Kingdom, hands over his throne to his brother, Vikramaditya and sets off into the forest with questions in his mind regarding the real meaning to life. In the forest, the King meets another mendicant who later becomes his Guru and teaches him the true essence of life.
Manoj Shah presents this story in two acts with the first act comprising Bharthari's life as a King and the second as an Ascetic. The play is the director's attempt to not only acquaint the audience with the King's life but to dwell deeper into his mind and share the concerns that so troubled Bharthari during his life time. In the first act, the director tells the story through short, quick scenes, which are often in flashbacks and this keeps the interest alive. The first act in itself qualifies as a complete play as it has a beginning, middle and an end. However, the events in the first act are the cause for the effect that forms the second act. The device used to tell the story in the first half might be an old one but it works as it takes you on a journey of unravelling the mystery and makes the audience a part of it. The story is told more simply in the second act as it presents the different aspects of the King's personality and the discoveries he makes as a hermit.
What works for the play are the performances. Dharmenra Gohil gives an equally brilliant performance after MAREEZ. This character demands more of him as it deals with a specific period of early history and mythology. Also, there is a risk of becoming too loud or dramatic with mythological figures within the form that the play adopts. But Dharmendra seems in perfect control having worked out a certain graph for his character. He maintains a smooth flow and command throughout, thus making a difficult character come to life with ease. Ahlam Khan as Rani Pingla displays similar restraint in her performance. It is these two who are the backbone of the play and make it an absorbing trip for the audience. Manoj Shah in his cameo as the fellow hermit and Guru of King Bharthari is noteworthy.
The light design and music blend well with the performances. The idea of using a box set in the second act to create the scenery of a forest does not do too well. Also, the play in general could be toned down. However, it is both entertaining and enlightening due to the performances and a compactly written script. Thus, the director successfully brings to life the story of the 1st century poet, saint, and King Bhartari, and makes it an interesting watch.
*Sudeep Modak is a young theatre person with interests in other media. He has worked with Ramu Ramanathan, Chandan Roy Sanyal and has done production work for THE PROPHET by Naseeruddin Shah's theatre group Motley, amongst other things.
