The great epics of the Hindus - the Ramayana and the Mahabharata, have been open to new interpretations for generations. Written by Twinkle Pandey and directed by Sujata Soni Balihas, REVISITING THE EPICS depicts select scenes from the two epics in a dance-drama style.
The play opens with Sita waiting in the Ashok Vatika for her liberation and ends with the Agni Pariksha, to prove her purity. The second scene is the game of dice between the Pandavas and their Kaurava cousins, culminating with Draupadi's disrobing, and her rescue by Lord Krishna, followed by a battle-scene. Both were interspersed with comments, some anecdotes and analysis in the form of a dramatised reading by Tom Alter.
The third scene, Abhimanyu Vadh (killing of Abhimanyau) in the Kurukshetra battle, opened to a recitation from the Hindi poem ''Jayadratha-Vadh'' by Chander Khanna (written by Rashtrakavi Maithilisharan Gupt). This was followed by a dance depicting the killing of Abhimanyu by the Kauravas. It again culminated in some comments from Mr Alter.
While the effort to revive these great epics and revisit certain key scenes from them by the team is commendable, the entire effort is rather amateurish. The incorrect and anglicised pronunciation of the word ''Ramayana'', by the female voice introducing the play points to a lack of attention to detail. At crucial times, the fumbling by the dancers is evident. Perhaps, they need more time to rehearse their steps and create a smoother routine. But, the steps are well-choreographed and create the desired effect. The Vastraharan scenes and Abhimanyu's death particularly, were depicted with a pulsing energy and menace that lifted the play from mediocrity for short periods of time.
The first two scenes are rather cliched. These are scenarios, which have been discussed, analysed, dissected and commented upon, ad infinitum. It would have been interesting, if the writer could have added a new angle, perspective or interpretation. Instead, the follow-up commentary delivered by Tom Alter in a rather booming, theatrical voice, reiterates what we already know. In that sense, the effect of 'revisiting' the epics was not enriching or informative as far these two scenes were concerned.
It would have certainly been engrossing, if more complex episodes had been chosen. The epics are replete with episodes which are not fully explored and open to interpretation even today. A case in point is the incident about the Pandavas and Draupadi in exile coming across the jamun tree, but which was unfortunately only limited to a recounting by Mr Alter.
Abhimanyu Vadh saved this play from being entirely banal. Mr Khanna certainly deserves kudos for his recitation of Maithilisharan Gupt's beautiful Hindi composition. The lines, where even the enemies of Arjun feel compelled to express a heartfelt admiration for the valour of his son, Abhimanyu, were delivered with emotion. Furthermore, the dance depiction and the poem which brings alive the scene, was also good.
Mr Alter, perhaps the star draw to the English-speaking audience, tried to lift up the performance with a spirited reading of the interpretation of the scenes. Perhaps, it was this onerous responsibility that made him sadly overzealous at times, particularly while reading out parts of Kumbhakaran and that of the voice of the Jamun tree. His pronunciation of the Hindi words, delivery of lines and syntax was, however, flawless as usual. Unfortunately, the script and its lack of depth limited him to reciting lines that seemed rather run-of-the-mill and rambling, especially towards the end.
*Ujwala Karmakar is an Anaesthesiologist by profession. She likes to watch plays, read, and listen to music among other things. Ujwala has also been writing on women's issues, parenting, travel, etc.
