KOCHI: "I still remember those long walks I used to have with Abel Achan,” K S Prasad, one of the finest comic brains of Kerala, reminisces as he flips through an old album at the legendary Kalabhavan school of performing arts in Kochi.
“He would regale us with anecdotes. And, in between, inquire about the previous day’s programmes — who and which act got the most applause, the ones that didn’t meet expectations, the delays, technical glitches, etc. There have been instances where Achan used to send ‘spies’ to our performances (laughs).”
Currently, the centre’s secretary, Prasad is among the numerous artists of Kerala who would go on and on gushing about their “Kalabhavan days”, and its founder the late Fr Abel Periyappuram aka Abel Achan.
What started as a single-room club at Kochi’s Broadway in 1968 eventually flourished into an art factory. The centre was once a launchpad for some of the finest artists of Malayalam cinema.
Today, Kalabhavan has about 7,000 students globally. It has franchises in Angamaly, Manarcad, Kannur, Kattappana, Karunagappally, Kanhangad, Sharjah, Ajman, London, Kuwait, and Bahrain. From music to dance and painting to mimicry, the streams are wide and varied.
“It was initially called Christian Arts Club,” says Prasad, who runs the Cochin Guinness troupe. “Achan changed the name to Kalabhavan, as he didn’t want any links to religion. In fact, Achan never kept any religious pictures at the centre.”
Prasad recalls the olden days when people used to throng venues “just because it was a Kalabhavan show”. The legacy is “beyond the cine industry”, he says. “Wherever we go, some Kalabhavan connect would be there,” he adds. “I believe such acceptance is a rarity. That’s probably because the centre was a strong base for Kerala’s art scene. There would hardly be any senior art enthusiasts who haven’t entered the gates of Kalabhavan.”
‘Mimics Parade’
In the earlier days, Kalabhavan was known for ‘Cochin Kalabhavan Ganamela’. Plays by P J Antony, who won the Bharat Award for the film Nirmalyam, were also popular. And then arrived mimicry.
Initially, one-man shows were scheduled as ‘fillers’ that lasted for 10 minutes. Director and actor Ansar says he was the first artist to perform mimicry at Kalabhavan.
“It was 1975, and I was doing pre-degree at that time,” he recalls. “I used to imitate the voices of actors Sudheer and Raghavan. Abel Achan gave me an opportunity to perform mimicry in between other shows and promised to give me more slots if I draw applause. Fortunately, the audience at Kala Auditorium in Chalakudy loved it, and I went on to perform at many venues. I received my first salary of Rs 40 from Abel Achan.”
When Ansar briefly left the group for higher studies, artist Varkichan Petta took up his slot of solo mimicry acts. Prasad, too, started doing ‘fillers’. “With mimicry talents cropping up and audiences giving a thumbs-up, Abel Achan thought why not make it a full-length programme,” says Prasad. “Thus was born the idea of ‘Mimics Parade’.”
Within a short span, Kalabhavan tapped the potential of mimicry. Besides imitation of celebrities, ‘short acts’ and skits also gained traction, with elements such as “English trailers”, sounds of the machine gun or aircraft, political satire, etc.
“Varkichan Petta, Ansar, and I were the initial trio,” recalls Prasad. “M P Michael (actor-director Lal), who was my classmate, and his friend Siddique had presented remarkable stage performances at that time. They were also included in the gang. Then came Kalabhavan Rahman. The six of us became one through the ‘Mimics Parade’. The initial name planned was Mimics Eve; it was Siddique who suggested ‘Parade’.”
The ‘Parade’ used to be a two-hour-long show. “Lal, Siddique and I used to go to the stadium ground in Ernakulam, and practise voice modulation and discuss the programme structure,” says Prasad.
In 1981, the group performed its first-ever act together at Ernakulam Fine Arts Hall. On the stage stood kurta-clad men, clutching their mics, not knowing the ripple effect their show would set forth.
“The appreciation was overwhelming,” says Ansar. “Actor Mammootty, who had then starred in the film ‘Mela’, was among the audience. After the show, he gave us a present.”
‘New Madras’
As Kalabhavan flourished, the popularity of mimicry boomed. “Kalabhavan was the first platform to popularise mimicry in Kerala,” says Prasad. “Subsequently, several mimicry troupes sprouted. By 1995, there were at least 100 mimicry troupes across the state.”
Ansar recalls there was a time when Madras was seen as the entry point to Malayalam cinema. “Suddenly, Kalabhavan became the new Madras. The exposure Kalabhavan provided was commendable, and artists started getting noticed,” he adds.
Ansar got a break in G Aravindan’s Pokkuveyil. Director duo, Siddique-Lal, got picked as Fazil’s assistant directors. With offers pouring, some artists left the ‘Mimics Parade’. But the show never had any dearth of talent. There was a queue of aspirants. Kalabhavan Mani, Zainudheen, Salim Kumar, Jayaram Subramaniam, Kalabhavan Abi, Dileep, Thesny Khan, Kalabhavan Shajone, etc, have all performed under the Kalabhavan banner.
‘I copied Mimics Parade’s show’
Jayaram
One could say I was a ‘king without a crown’, especially in mimicry, at Sree Sankara College, Kalady. Mimicry made me a popular figure in college, especially among ladies. During those days, mimicry was limited to colleges. The only other platform was Kalabhavan, and to be its part was any art enthusiast’s dream. Seeing the centre’s board while passing through Ernakulam fuelled my desire to become a part of Kalabhavan.
My first ‘tryst’ with the ‘Mimics Parade’ was during college days. In 1982, a troupe from Kalabhavan performed at Maharaja’s College in Kochi, and I happened to watch it. I was amazed. The audience, too, was enthralled.
I used to consider myself a great deal in mimicry. But the Mimics Parade show gave me a reality check. Subsequently, our college also invited Kalabhavan for a show. At that moment, I was unnerved that my mimicry bubble would burst on campus.
Being someone who could grasp things real quick, the entire two-hour performance by the Kalabhavan artists at Maharaja’s College was etched in my mind. I booked a mimicry slot just ahead of Kalabhavan’s show at my college event and gathered five others. I made them learn the acts in three days.
Finally, it was show time. Our ‘variety’ programme clicked. After our event, we saw Kalabhavan’s vehicle entering the campus. We scooted! When the six-member Mimics Parade group began their show, students started booing. “We have already seen these acts before,” they yelled. Later, the Kalabhavan team came to know that I had already replicated their acts. Enraged, they planned to sue me.
While discussions against me were going on, Abel Achan is said to have intervened: “If that one person could learn all of your acts and perform in an excellent way, don’t you think he is talented? Instead of holding on to the grudge, isn’t it ideal to bring him into the troupe?”
Later, K S Prasad and Zainudeen came to my house and invited me to Kalabhavan. Thus, in 1984, I became a part of the centre. My ‘Mimics Parade’ years were unforgettable. The acceptance from the public was overwhelming. It was those four years that gave me the opportunity to star in P Padmarajan’s Aparan. Abel Achan was an irreplaceable figure. He would often say I was dear to him. Having Achan as my first guru in the field of art was a blessing, indeed.
‘Salary cut, if late’
Salim Kumar
I joined Kalabhavan in 1994. For three years, I stayed there as part of Mimics Parade. Before joining the centre, I was the MG University winner in mimicry. Seeing me perform, K S Prasad invited me to join Mimics Parade. My forte was mimicking political leaders such as K Karunakaran, E K Nayanar, and K R Gowri Amma. After joining Kalabhavan, I was more into comedy skits. Punctuality and discipline are two qualities that Abel Achan inculcated in me. Achan was always on time, and he expected the same from every member. Even if we were late by just five minutes, our salaries would be cut. I believe punctuality was a quality instilled in every Kalabhavan member.
Abel Achan was a father figure: Thesny Khan
I joined Kalabhavan in 1986. As I did well in cultural activities, my father, Ali Khan, who was a magic teacher at Kalabhavan, took me to Abel Achan. Though I joined the Ganabhooshanam course, Achan noted that I was good at dance as well. So he added me to the dance troupe. Later, I forayed into comedy skits. It will be a rarity to see a talented art enthusiast like Achan. He genuinely wanted me to act in films and emerge as a star. When Jayaram debuted in P Padmarajan’s Aparan, his posters were on display in front of Kalabhavan. Seeing them, Achan asked me why I wasn’t part of such posters. This was after I had debuted in the movie Daisy in a ‘friend role’. Achan was more like a father to me.
‘Mammootty brought Fazil along...’
Lal
My father, A M Paul, was a music teacher at Kalabhavan. Appichi used to teach tabla, violin, and all kinds of instruments. At that time, (director) Siddique and I used to do mimicry at some shows.
Abel Achan got to know about our performances. We were called to Kalabhavan. The idea of starting the ‘Mimics Parade’ was brewing at that time. We were not confident about the initial format.
Through a member of Kalabhavan, Advocate Prakash, we conveyed that ‘Mimics Parade’ should have a proper script to engage the audience for the two-hour session. Siddique and I made a script, and that was presented by Prakash as his. We did a soft launch, and everyone enjoyed. Later, Prakash announced that the script was ours, and that’s how we became part of Kalabhavan.
Mammootty used to attend Mimics Parade shows. At one such event in Alappuzha, Mammootty brought Fazil along. After the performance, Fazil commended us. During this interaction, Ansar told Fazil that Siddique and I had some interesting stories for a film. Fazil invited us to his house for a discussion, and that paved the way for our cinema entry as assistant directors of ‘Nokketha Doorathu Kannum Nattu’ (1984).
To date, when I think of Kalabhavan, the first thought that comes to my mind is Abel Achan. For me, he was ‘Kalabhavan’. Achan used to walk from Chavara Cultural Centre (near Ernakulam South Railway Station) to Kalabhavan every day. Holding an umbrella, he would walk by the rail line. Even as we talk to him, he would continue walking, carefully listening and responding to whatever we said. Without Abel Achan, that centre is just a building.
For any artist, Kalabhavan is the best place to start off with. That centre can mould one into a better person. Also, anywhere you go, the Kalabhavan tag has a specific value and draws respect. And that quality still remains the same to date.