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Loss of innocence

MANU REMAKANT

Kavalam Narayana Panicker’s latest play, ‘Kallurutti,’ is a commentary on neo-colonisation.

Photo S. Gopakumar

Not didactic: ‘Kallurutti’ is devoid of any overt political statements or moral judgements.

The play had everything to mesmerise the audience for nearly two hours. Veteran artistes of Sopanam Theatre came up with an inspired performance at Vylloppilli Samskriti Bhavan.

‘Kallurutti,’ the latest work by celebrated theatre doyen Kavalam Narayana Panicker, addresses an enduring issue that haunts society.

According to him, the days of blatant colonisation are over, but imperialistic threats come in many other shapes and ways. ‘Kallurutti’ is a strong caveat to safeguard our tradition and culture against the onslaughts of western influence.

Set in a forest

Kavalam sets his story in a forest to drive home his message.

The loss of innocence and the insidious influence of money and power have been aesthetically conveyed without turning the play into a didactic exercise.

As the play begins, we see the key actors come on the stage. Through dance and songs, the Panchuruli brothers are introduced by a group of people called Thottakkar, who play the role of the chorus in the drama. The brothers are inseparable (hence both are ‘Panchuruli’ by name) in action and thoughts.

But the story is not about them, but their loving sister Kallurutti, who suffers a lot for the sake of her dull brothers.

Life disrupted

The director slowly builds up the tension as the serene life inside the forest is threatened by Umrani, a corrupt officer of the landlord. Umrani lives across the Thrikkunnathu river that borders the forest. He corrupts the brothers and tries to molest Kallurutti.

However her magical powers keep her safe. Finally, it is the sister who defeats Umrani. She storms to the scene like a whirlwind.

For Kallurutti, death is only a change of state, she becomes a Theyyam, winning the hearts of thousands of devotees.

The amazing performance of Mohini Vijayan delighted the audience. The spirit of the play was imbibed by the other actors as well. Background music enhanced the feel of the play that did not have a single redundant scene.

The artistes transported the viewers to the world on the stage.

The thottakkar amused the audience with beautiful songs and dances. Excellent use of the props and the stage, one of the distinguishing features of Kavalam’s plays, recreated the river and the jungle on the stage.

‘Kallurutti’ is devoid of any overt political statements or moral judgements. “It is a commentary on colonisation,” says Kavalam.

“I find that tribal life is the best setting to communicate the message to the audience,” he adds.