A theatrical adaptation of Imayam’s short stories, Kadaiyalla Vazakkai, was a vivid depiction of contemporary social issues.
kadaiyla vazakkaiA theatrical adaptation of Imayam’s short stories, it was a clear depiction of contemporary social issues.
I had read a curtain-raising of Prasanna Ramaswamy’s latest bouquet of stories from the popular Tamil writer Imayam – Kadaiyalla Vazhakkai. Before I watched the play, I knew his ability to adapt the written word for the stage. The theater director and documentary filmmaker says that though known for his non-linear narratives, this time he opted for linear. This shows that Prasanna trusts the Imam’s words. Both are exceptional creators, with a strong sense of politics and a rare inclusivity. I recently saw a performance of four short stories. As the play progressed from one story to another, the mood deepened. The last one was particularly gut-wrenching.
the education system
Offer, the first story, is about our greedy private educational institutions. Gomti’s (Antony Janagi) twins are just two years old. The ‘sales girl’ (read teacher) of Gyanalaya Matric School provides all kinds of free gifts, from gold to plots of land, if Gomti wants admission for her children in the school. Greed is high for Gomti and her husband (Prasanna Ram Kumar), who is himself a teacher in a government school. They soon prepare to send their children to the Gyanalaya. There are scenes that create laughter, but the story carries a strong message about the modernization of education.
a view of curry
visual media ethics
The second, Manalurin Embroidery, is about how the television media has become fake and flaky. If you have to brainstorm stories round the clock, you have no other choice. Ganesan (Prasanna Ram Kumar), who comes to Chennai with dreams of doing something meaningful in life, becomes a television reporter, and assumes the name Sri Sri. He visits different cities every week in search of sensational stories. When he goes to Manalur, he asks his friend Ramu who lives there to give him some clues. But Ramu cannot think of anyone. Sri Sri then puts together some stock shots and makes a story by fitting in a few people and events. Ramu is terrified that the residents of the city will object to this fictional story. On the contrary, he sees people crowding around the television crew to get to know their speech and face. “Did you watch ‘Oru Varam Oru Kathai’ last week? Here I am!” How can one resist the temptation to appear on television? But in the end, Sri Sri realizes the lack of his stories.
on women empowerment
Veedum Kadhavam is about two women. I am often asked, “Aren’t things better for women now.” Imayam and Prasanna tell us the reality. In her fifties, one is a woman panchayat president, and the other, a teacher (played by Smriti Parameshwara and Janaki Suresh). We think they are ’empowered’. The President has not stepped inside her office after being elected as everything is handled by her husband including her signature. As far as the teacher is concerned, her husband operates her ATM card. He leaves some money on the table for her when needed. The emptiness, the humiliation of his dignity comes through very well in the story. We have not yet learned to respect our women.
black truth
The darkest and last – Nanmaran Kottaikkathai. Muthuraman’s bull wins the race and has to face the wrath of the enraged, upper caste villagers. Both he and the bull are killed. But his wife, Selvamani, is forced to admit and sign a paper that Muthuraman was killed by a bull. To save her children from torture and humiliation, she decides to leave the village, but is unable to get the TC from the school. Prasanna has used music and dance movements very effectively in this story. Melody Dorkas plays both Muthuraman and Selvamani very well.
All the actors seemed to understand what the stories demanded of them, and they were exceptional. For example, it was hard to believe that the grieving, angry and determined Selvamani was played by the same actor who played the Gyanalaya teacher. Even the costumes had a role. The backdrops drawn and projected on the screen were effective, so were the music and lighting. Prasanna had two chorus actors, Raghavendra and Jenny, to mark the movement from one story to another. Kadhaiyalla Vazakkai brought to life the nuances in Imayam’s stories.
The author is a former judge of the Madras High Court.