The play that launched the legendary Dada Kondke into the stellar orbit and gave a new lease of life to folk theatre - late Vasant Sabnis' VICCHA MAAJHI POORI KARA is back on stage. Indeed, it is a treat for theatre aficionados to re-visit the blockbuster play. All that remains to be seen now is whether the folk theatre is able to charm today's audience, which is afflicted with short attention spans.
The Marathi Theatre grapevine has it that VICHHA MAAJHI POORI KARA was specially penned by Vasant Sabnis for Dada Kondke. Subsequently Ram Nagarkar and Vijay Chavan had played the same role, but none could rival Kondke's popularity.
The latest edition of VICCHA... also follows the traditional Tamasha format with the Gan (salutation to lord Ganesha) at the beginning. These are followed by the Gavlan (Radha-Krishna teasing session), the Lavani (sensuous dance), Batawani (debate between shahir {poet-singer} and writer) and Vag Natya (the drama). Since props and backdrops are kept at a minimal in a folk play, Katau (couplets that link the scenes) are used to inform the viewer. The shahir further aids in interlinking the narrative. In its new avataar, the play retains the time-honored pattern, and thus it has an immense instructional value.
During Batawani, the verbal session between the shahir and writer, the writer conjures up an image of a beautiful, desirable young woman through his verses and before you know it - he reverses the image with his words - bringing forth an image of a repulsive woman. It establishes the sheer power of the writer's words and transforms the proceedings into an exhilarating theatrical experience.
The second half depicts the Vag Natya which revolves around a tale of nepotism about a scheming prime minister who appoints his hideous brother-in-law (Jaywant Wadkar) to the coveted post of the Kotwal following the death of the earlier Kotwal. Ideally, the Havaldar (Digambar Naik) would have been next in line to take over. Now the superseded Havaldar plots with his sweetheart Mainavati (Rajni Deshbhratar), a Lavani dancer, to frame the new Kotwal. Mainavati works her charms on the Kotwal and then beseeches the ugly Kotwal to fulfill her numerous wishes (hence the title of the play, Vichha Majhi Poori Kara). She orders him to bring her the king's ring, chain and finally the king's four-poster bed (chhapri palang)! The folk drama brings to fore the rampant political injustice through witty repartee and comical situations.
Director Arun Hornekar plays it safe by sticking to the tried and tested original story, while making only occasional contemporary political references. Even as the producer Anant Panshikar of Natyasampada adopts a purist stance - not meddling with the original - he could perhaps have enhanced the appeal of the play in today's context by modernizing the villain. Instead of the physically deformed and revolting Kotwal of the bygone era, a baddie - evil in thought and action could have worked far better.
Jaywant Wadkar's waddling villain is tedious and sadly takes up too much time on stage. And for the major part of the second half, the viewer awaits the appearance of the Havaldar played deftly by Digambar Naik. Sanjay Mohite as the Shahir cum sepoy is agile as well as endearing. Rajni Deshbhratar, a talent hunt discovery, puts up a lively Mainavati. She is an accomplished dancer and a pleasure to behold. Choreographer Narendra Pandit deserves a special mention for combining the traditional with new innovative movements in the lavani. Natak buffs should relish this good old Tamasha.
*Deepa Ranade is a film and theatre reviewer. She has been an entertainment journalist for over fifteen years.
