Some stories don’t just stay in books. They wait for the right moment to speak again. Decades after Sivasankari’s short stories first appeared in Tamil magazines, the words found a new rhythm and voice under the spotlight of Narada Gana Sabha on Saturday. Presented by Komal Theatre, directed and dramatised by Dharini Komal, the event was a homage not just to the writer’s storytelling but to the enduring connection between literature and performance.
Founded 13 years ago by Dharini in memory of her playwright father, Komal Theatre has carved a niche by bringing literary works to life. Under its ‘Padaipaligalai Kondaduvom’ (Celebrating the Creators) series, it has staged works by Sujatha, T Janakiraman, R Choodamani, and Indira Parthasarathy. This time, the focus was on Sivasankari, an author known for her understanding of human psychology and social consciousness.
The evening opened with a welcome address by Komal Theatre’s founder, followed by a short video tracing Sivasankari’s literary journey. The octogenarian author, celebrating her 83rd birthday this month, was felicitated before the stage transformed into a portal of emotions, memories, and social realities. What followed was a 110-minute showcase of six short plays adapted from Sivasankari’s works, each reflecting a different era, mood, and slice of life.
“I have been a fan of Sivasankari since I was ten,” Dharini said. “When I met her last year, we realised we shared a similar idea of bringing her works to the stage. That’s how this journey began. I read over a hundred of her short stories and selected six that could be dramatised without diluting their essence.” The result was six months of adaptation and two months of rehearsals involving fifteen actors and technicians.
An ode
The first play, Kazhuthai Thyienthu, set a humorous tone. A middle-class couple debates whether to donate `500 to a poor man’s medical treatment. As expenses mount, their generosity fades — a witty yet biting commentary on how self-interest trumps empathy. The audience chuckled knowingly.
The laughter continued with Thalaivar Varugirar, a sharp satire on the frenzy surrounding a national politician’s visit. The chaos, the broomed-up streets and construction of roads, and the frenzy of distributing “biriyani” for attendance felt strikingly familiar, eliciting amused nods from the audience. The actor who had played the wife in the first story, reappeared, effortlessly slipping into the character of a maid.
Sandai took a turn toward the contemporary. Set in Bombay, it follows a seemingly perfect couple whose marriage unravels over a trivial misunderstanding, highlighting how fragile modern relationships can be.
From there, the evening shifted to a deeper emotional terrain. Deivam Nindrukkolum explored how a privileged man’s moral corruption circles back to destroy his family — a stark reminder of karmic justice.
The fifth play, Aaya, was about a grandmother who moves to the city from a rural area with her son, only to realise she is wanted merely as an unpaid babysitter. The actress delivered a poignant performance through swift costume changes. Though slow to begin, the protagonist brought back the audience’s attention through her mannerism hooks. The finale, Thepakkulam, was an ode to nostalgia and loss. A woman revisits her childhood picnic spot — once a lush thepakkulam — only to find it barren. Tableau sequences enhanced by delicate lighting and birdsong contrasted the past’s serenity with the present’s decay. The protagonist’s final lines questioned whether imagination deserves to stay alive even when reality fades.
If Sivasankari’s words were the spine, music and lighting were the heartbeat. Viishwaajay GN’s original score moved fluidly between folk, classical, and emotional notes, while veteran lighting designer Chetta used shadows and hues to heighten every transition. Together, they acted as silent performers, especially in Thalaivar Varugirar and Thepakkulam, where mood and meaning were inseparable from the atmosphere.
Komal Theatre’s attention to period detail also stood out — rotary dial telephones, retro décor, and costumes true to each reality made the stories feel rooted in their time. “We announce the year before each story begins. It helps the audience travel through time with us,” Dharini noted. The crowd — largely long-time readers and theatre enthusiasts — watched with nostalgia and curiosity. While the lighter stories in the first half drew laughter, the later emotional narratives lingered longer. Though the pacing occasionally stretched, the ensemble’s sincerity kept the audience engaged till the end.
By the curtain call, Komal Theatre had done more than stage six stories — it had brought life to Sivasankari’s world, proving that some words written decades ago still breathe, speak, and move hearts when given a stage.
