The play KAUMUDI blends the splendour and the travails of theatre (the Rangmanch) with India's glorious epic story - the Mahabharata. Like the epic, the play, written and directed by Abhishek Majumdar, is multilayered yet seamless. The production with its parallel and complementary themes comes together as a unique whole.
At its core, the play tells the story of an aged artist, Satyasheel (Kumud Mishra), who has earned much fame and popularity in his depiction of the character Eklavya from the Mahabharata. But the slow and steady decline of his eyesight is forcing him to give up his art. He is tragically becoming blind. In his last three-day show prior to his inescapable retirement, he is forced to collaborate with the young and upcoming actor Paritosh (Sandeep Shikhar), who is famous for playing the role of Abhimanyu in other theatres. Paritosh has arrived at the old theatre in Allahabad at which Satyasheel has been the star actor and to replace him as Eklavya after Satyasheel's last show. Till then Paritosh will continue to play Abhimanyu.
As they prepare for their respective roles, there is much hostility between the two actors, but it slowly becomes evident that they aren't strangers to each other. It is revealed, that Satyasheel and Paritosh are in fact father and son, estranged in their past due to an unfortunate incident. Years ago, a playful evening at the sea took a turn for the worse and the father had been compelled to choose between his drowning son and wife. This marked event entrenched in Satyasheel's consciousness and tortured by Paritosh's presence becomes a source of dramatic conflict juxtaposed with the unravelling of Eklavya's character and its philosophical underpinnings.
The play smoothly transitions between the 'reality' off stage and the 'reality' on stage. As the play moves along, the parallels between the actors' lives and the lives of the characters they portray become more and more pronounced. The on stage drama raises philosophical questions.
The Sanskrit word 'Kaumudi' which could translate as illumination or enlightenment, in this context, is the timeless moonlit night on which Krishna delivers knowledge to Arjuna. But Eklavya's sacrifice and his lower caste status (not wholly examined in mainstream and representations of the Mahabharata) is a constant reminder of the grave injustice done to Eklavya. As Satyasheel insists to Paritosh that he will never do justice to the part till he can fully empathise with the character.
On stage, Krishna ponders whether Abhimanyu should be told how to exit the Chakrayvhu and if he can be saved. But Eklavya's ghost tells him, ''You know the answer. Both, father and son are courageous and talented. But two heroes cannot exist; there can be only one. You will have to let go of the other.'' Off stage Paritosh accuses his father of letting him go, of sacrificing his son for himself, for his greater glory and for his art.
The two parallel stories on stage and off stage continue in this vein to reach a climactic end. But the questions remains -was it Eklavya's Kaumudi or Satysheel's? Was the audience applauding Eklavya or did they show their love for the blind actor through Eklavya? Are art and life separate or intertwined?
Kumud Mishra and Sandeep Shikhar are joined by Gopal Datt and Shubhrahyoti Barat. All four actors are very good to say the least, making for a truly fine ensemble. Gopal Datt Tiwari and Shubhrajyoti Barat play multiple characters and from time to time bring comic relief.
The set reflects a simple, yet elegant theatrical performance with a pandal in the centre, a rug spread out and artist dress rooms with mirrors and lights. The two hour play is a literary experience aided by compelling performances. The play has been influenced by texts such as Anand's Malayalam Novel, Vyasam Vigneswaram (the writer says that the idea of a conversation between Abhimanyu and Eklavya emerged from it) and Jorge Luis Borges' essay 'Blindness' (which talks about the author's experience of losing his eyesight). KAUMUDI can be appreciated as the troubled story of a father and son, as the little heard and supressed story of Eklavya and as a larger spiritual journey of the self through art.
*Shonita Joshi is a freelance journalist with a wide array of interests. She has a major in Economics and Banking and has done her post-graduation in Journalism.
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