The love-scented ‘Premalekhanam,’ the story by Vaikom Muhammad Basheer, written over half a century has made an indelible impression in Malayali readers with its sarcastic take on the social realities. Theatre artists Amal Raj and Lakshmi Amal has come up with a dramatic version of the classic tale that narrates the love of Keshavan Nair and Saramma.
What makes the play, which has been staged at over 500 venues all over the State including the capital city, special is that it also presents a second part to the story, which starts where the original tale ends. Amal says, “The original play ends where Saramma elopes with Keshavan Nair, leaving behind the barriers of caste and creed. In the two-hour-long play, after staging the initial blossoming of love of the couple, we introduce their present-day life.”
In the second part, Saramma is deeply upset for the couple does not have a child. The same Saramma who had shown the pluck to begin a life with a man of another religion, starts to rely heavily on superstitious practices that exist around her and begins to be a spendthrift in this regard. The change in her character irritates Keshavan Nair and the play unfolds the happenings in their later life.
“When we turn back and observe, the society was largely irrational at the time when Basheer wrote the story that was during 1940’s. Superstitions were at its peak, and even during that period, Basheer through his characters, displayed emotions like compassion and love towards other beings. But, as we look around, we can see that the same practices that divided society exist even to this day. Symbols and codes that indicate religion as well as idol worship are all on the rise. In this context, we thought it would be ideal to present all issues that the couple have to confront, with a humorous treatment,” says Amal.
While the characters appear in periodical costumes in the first half of the play, in the latter half, they will be in modern attire. Amal says, “It was a challenge to adapt a story that is so popular. Since the dialogues, especially the love letter that begins with the punch dialogue - ‘When life is at its most intense state of youth...’ - are ingrained in the minds of the readers, we took utmost care to adapt into the form of a play.”
Instead of proscenium arch, the artists have opted for open space for performing the play so that they can frequently interact with the audience. The play has also done away with artificial sets and use simple props. Amal and Lakshmi, who travel around propagating short pocket plays say, “theatre has immense scope these days and experimental, down-to-earth plays are the need of the day.”