KOCHI: For kathakali connoisseurs in the city, it has been a rare chance to watch Sampoorna Nalacharitham in a serene ambience effectively balanced with the high tech perfection of the JT Pac auditorium. And they have witnessed some of the great acting moments competitively presented by maestros like Kalamandalam Gopi, Kalamandalam Balasubrahmanyam and Sadanam Krishnankutty.
The complete staging of Nalacharitham kathakali, which started on Monday, will enter the fourth night on Thursday at JT Pac with the ceremonial reunion of Nala and Damayanthi.
The first night of the series on Monday provided a sumptuous feast for kathakali lovers as Kalamandalam Gopi’s Nala presented the mannerisms of an ardent lover. With his inimitable rasaabhinaya and poignant gestures Gopi mesmerised the audience all through the night. The entry of the golden swan (hamsam) was the highlight of the programme and most viewers mistook Kalamandalam Shanmukhan for a woman artist as he dazzled on stage as the beautiful Damayanthi.
Through the soulful rendering of popular padhams (lyrics) like Priyamaanasaa… in thodi, Poomakanum… in punnagavaraali and Chaladhali Jhankaaram in dhwijaawanthi, Kottakkal Madhu and Kalamandalam Vinod added to the delightful show with Kalamandalam Unnikrishnan and Kalamandalam Rajanarayanan providing the rhythmic support on chenda and maddalam.
In the second day’s performance Kalamandalam Balasubrahmanyan’s Kaattalan (hunter) and Sadanam Krishnankutty’s Pushkaran deserve special mention. As expected the love scenes presented by Kalamandalam Gopi and Margi Vijayakumar as Nala and Damayanthi enthralled viewers. Pathiyoor Sankarankutty and Kalamandalam Babu Namboothiri mellifluously breathed music into the scenes.
The third day witnessed some horrible scenes as Nala was transformed into the dark Bahukan as he was bitten by the poisonous snake Karkkodakan. Gopi immortalised the transformation with his matchless acting style. Enacting the touching padhams like Vijane Batha Mahathi in rag thodi and Marimaan Kanni Mouliyude in rag dhwijaavanthi, Gopi virtually transformed into Bahukan and effectively conveyed the intensity of the sorrow of separation.
As Bahukan he portrayed the pitiable state of a king who had to serve another king as horse trainer and chief cook. Kalamandalam Keshavan Namboothiri’s Sudhevan also communicated well with viewers, especially during the delineation of the rhythmic padham, Yaami Yaami Bhaimee Kaamitham… in rag madhyamavathi.
After enjoying these immortal artistic moments for three continuous nights, the connoisseurs of kathakali are eagerly waiting for the day when Nalan reunites with Dhamayanthi. Nalacharitham Naalamdhivasam (fourth day) is presented in a crisp form which conveys more than other intricate stories.
Though kathakali demands a minimum knowledge of gestures and puranic texts, an ordinary man can easily recognise the agony of the lover in Nalacharitham which is full of emotions. Simple and melodious padhams like Theernnu Sandehamellaam... (punnagavaraali), Aaredo Nee Ninte Perenthedo…(panthuvaraali) and Engaanumundo Kandu (thodi) easily reach out to viewers. Instead of intricate gestures, here expressive faces narrate the stories of the two lovers, Nala and Damayanthi, who went through many hurdles created by fate to attain the ultimate goal in their life, reunion.
By all means, Sampoorna Nalacharitham staged at JT Pac provides a new vista to kathakali and a special viewing experience for art lovers.
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