Marathi theatre is in an enviable position because it is one of the very few language theatres in India that has been able to strike a fine balance between art and the box office. While film, television, and now the likes of Netflix, managed to jostle it a bit, the Marathi naatak has held its ground, and this is largely due to its long and time honoured tradition of plays ranging from the folk to the classical, from the musical to the modern play. It has indeed covered a wide spectrum of performances. Marathi theatre apart from its enduring history in the theatre landscape of the country has also shown dynamism from time to time. Over 175 years Marathi theatre has evolved and flourished.
In this bio-musical on Marathi theatre or the Marathi Rangbhoomi as it is often called,Sampada Joglekar-Kulkarni assumes the role of the heroine "Rangbhoomi" while the audience is personified as "Rasikraj", alternatively her paramour, played by Rahul Mehendale. At the very beginning, the two tie the knot and then they recount the history of their affair, beginning in 1843 with Vishnudas Bhave's SEETA SWAYAMVAR, progressing to 1880 with Annasaheb Kirloskar's SHAKUNTAL and SANGEET SAUBHADRA,followed by G B Deval's SANGEET SANSHAYKALLOL in 1893.
The couple relates how the iconic male actor Balgandharv essayed the role of Sindhu, the heroine, as it was in those days, in yet another famous play EKACH PYALA by Ram Ganesh Gadkari, which won him a record of 13 encores for 'Kashi ya tyaju padala...' They also narrate the amusing incident of Balgandharv attending Haldi-Kunku, a ladies celebration, dressed as a woman - without getting caught!
While Rangbhoomi and Rasikraj tease, flirt, and chat about their romance, a troupe of debutant singer-actors: Nachiket Lele, Ketaki Chaitanya and Shamika Bhide, simultaneously render the era-defining songs like 'Nahi mee bolat...' from musicals like MANAPMAN. One fine day, Rasikraj brings home the gramophone, and then comes the radio, and finally the feature film, which creates a metaphoric chasm between the lovers. That's when the celestial sage Narad Muni is asked to play the mediator between the two estranged parties.
With changing times, Rangbhoomi transforms herself to a glamorous gen-next avatar, played by the charming Sharvari Kulkarni. A battle of wit ensues between Rangbhoomi and Narad Muni in the form of riddles related to theatre. The repartee is interspersed by momentous scenes from super hit plays like TI PHULRANI, MORUCHI MAUSHI, TO MEE NAVHECH, HAMEEDA BAI CHI KOTHI and NAT SAMRAT.
Writer-director-actor Sampada Joglekar-Kulkarni thus culls out gems from the archives of Marathi theatre and through spirited dialogue, lucid direction, and engaging performances, keeps the audience riveted. Rahul Mehendale with his effortless acting makes a worthy co-actor. The singing trio: Nachiket Lele, Ketaki Chaitanya, and Shamika Bhide are thoroughly entertaining. Also watching actors switch roles and costumes - from Balgandharva to a regular singer, from Rasikraj to Nat Samarat and from Shahir to Narad Muni - is completely magical.
Kudos to set designer Sachin Gaonkar's rolling titles of the plays in the backdrop that contribute to the on-goings on stage. Varsha Bhave's music, Sheetal Talpade's lighting, and Rajesh Parab's make up definitely make a value addition to the play. Tabla player Suhas Chitale and organ player Kedar Bhagvat provide live accompaniment. A special mention to costume designer Nita Panshikar must be made. She brings forth variations of the nine-yard saree and gives it a glamorous twist with a display of traditional jewellery in its full glory.
Nostalgic, entertaining, informative - this production has much to offer. Go ahead, and let the history and glory of Marathi theatre enrapture you.
*Deepa Karmalkar is a film and theatre reviewer. She has been an entertainment journalist for over fifteen years.
