Kamba Ramayanam @ Golden Gates and Emerald Valley Schools, Salem

The Epic Saga, Kamba Ramayanam, a text renowned for its use of skillful poetic devices in its 10000 odd verses, is a pride of every Tamil across the globe. Any Tamil enthusiast would find themselves in deeper dilemma as to what needs to be highlighted and what could be left behind, as there are too much to tell in too little a time. To precisely condense it into a two hour stage show is a mammoth task and the writer-director just got it right.  

To sow the essence of Ramayana among our 'degenerative era' of social media, speaks for the noble vision and undying passion of this individual Mrs. Meena Sethu, the screenplay writer and director of the play, who prologues a dedication to her dad in a video note. Her note highlighting a few interesting cultural comparison of the 2000 year old Valmiki's Ramayana versus the 800 year old Kamba Ramayanam, did make the audience inquisitive to spot those sequences during the play.

More than 400 children, big to tiny tots, performing this magnum opus stage show, in a school auditorium, with multiple actors playing the lead roles in segments, needs immense coordination and cooperation. Their enthusiastic performance echoed sheer commitment in parallel to dedicated behind-curtain hardships. The stagehands directed by an efficient stage manager, rendered a seamless transitions with befitting onstage finesse. Prop mastery, multi leveled stage setup and the wide LED screens, added to the grandeur in bringing the epic to life. 

The play begins with Kambar in action writing his versus on the left stage and on the right the director chooses to give a glimpse of what is in store for the next 2 hours - Rama Lakshmana Sita with Hanuman, a portrait-like live imagery. It seemed to have transcended to the stage, straight from many of our pooja rooms, beautifully coming alive, involuntarily making a few in the audience to join their hands in prayer and the rest to drop their jaws in awe. The teaser of the visual extravaganza in store, sets the mood right and the play begins with the very famous and much heard 'Puthra Kameshti Yaga'. 

The detailing in every act, is sure to remind the story-tellers from each of our childhood days and the source materials that introduced these live characters to us. For me it was the 1987 Doordharshan's Ramanand Sagar's Ramayan. It was magical then, and to revisit those emotional memories after nearly four decades, was equally magical and synced even better, now that I had began to explore the Sanskrit scriptures in an attempt to understand Ramayana on my own. 

I have had a couple of opportunities in the past to visit the event 'Kamban Vizha,' organized by the eight decade old Kamban Kazhagam, a dedicated society that celebrates the poetic author Kambar. The text's effective usage of similes and metaphors that evoke deeper emotions, had inspired me then. But for reasons unknown, the children's naive performance through narration and recitals, accompanied by the right technological support, questioned me for not having attempted to read Kambar's adaptations of the epic, all these days.

The joy of art and music doubles when it is children who are performing. A few performance were totally captivating and a few magically mesmerizing. The one-liner that we Tamils are very familiar with, thanks to the movie industry that almost exploited this particular phrase in all weird context possible - 'Annalum Nokkinaal, Avalum Nokkinaal, when played by young Rama on stage, surprisingly brought the true essence of the author's. 

The actor's graceful slow paced walk indicated he couldn't move any faster after his eyes caught Sita's. The measured emotions, the spot light following him as his gaze meets young Sita's on the high rise, he walking to the very end of the stage, unable to take his eyes off hers- an illustrative poetic justification indeed. 

Sita's abduction was yet another act that left the audience engrossed. Sita and both the hermit Ravana and his real villainous self, were such solid realistic portrayals. Mrs. Meena's prologue on comparison of the abduction incident in both Valmiki's and Kamban's enabled the audience appreciate Ravana's peacock like Pushpak Vimana lifting Sita, along with her hut and a part of earth with it, rather than any direct physical contact unlike the Valmiki's version. 

Hanuman meeting Sita was staged beautifully and emotions were spot on as the petite Hanuman explained Sita about himself and updated her on Rama's state. The actor playing Sita in the Ashoka Vanam rendered a balanced and controlled performance. Her weakened body language made the audience feel the pain behind her doomed state of mind and her inner conflicts. The dialogues were precise and just apt. Ravana's Darbar stood out as both the props and the digital back drop gave the eerie feel as the actor outstandingly played the merciless Ravana, while he was discussing the course of events with his courtesans.  

Ram Sethu being built across the sea, by a sea of monkeys on stage, was blissful and thoroughly enjoyed the monkey clan building the bridge. Also adored their enthusiasm on the battle field later on. Sita emerging unscathed from the fire test was depicted beautifully and even believed to have witnessed a real fire from the Yajna Shala onstage! Lord Agni coming out from the same chamber within seconds later, enhanced the drama, making the audience suspend their disbeliefs and become one with Sita during her fire trail. 

Sensitive sequences of Rama's rejection, Sita asking Lakshmana to light a fire, Agni Devan attesting Sita's purity, have been written with utmost care, duly clarifying why Rama was silent while Sita walks through fire. 

Dasharath from heaven emphasizes Sita's unbroken greatness, praises Rama and Sita and gives them his blessings. The dialogues where King Dasharath 'apologizes' to Sita, for the fire walk, further adding that Rama did it merely to quell public doubts, didn't work for me as it should have. Had Rama spoken those words in clarity himself or had the narrator uttered Kamban's words instead, it would have worked better, I thought. Nevertheless, it served a profound closure to the most debated fire walk of Sita's. And again I found that later retellings and some upa puranic traditions make Dasharath more apologetic towards Sita. The tone in Kamba Ramayana is reverence and consolation and not a direct apology.  

The play came a full circle with Rama's pattabishekam, in narrating the lengthy story in an effective concise version.  But, wished the play also touched upon, what made Rama the greatest human of all time, that he is worshipped as a role model for thousands of years - his love for the people and world, his mercy and concern for common people, his duality as God and human, his unwavering righteousness, his courage and valor. But again, one shouldn't ignore that it is a school play and it cannot go anywhere near emphasizing anything that might be interpreted as religious indicator, especially when the play is being staged in an educational premise. 

The music evoked emotions and was delighted when I heard that actual verses of Kambar were composed into songs by Mr. Camillus and were sung by Golden Gates students fifteen years back. The cinematic back ground score lingered long after I left the auditorium. The dialogues and narration were kept simple for it to relate to many and so were the entertaining dance performance by vibrantly dressed children, yet another key factor for the audience to stay engaged. 

 

As the curtains closed with the divine Ramar Patttabishekam backdrop, the length and breadth of the three stages filled with performers, taking a seated bow - A portrait to cherish for their life time and ours! As I witnessed numerous Ramas and Sitas in various age groups and different costumes, my heart swell in content, as the play not only celebrated the immortal epic but also showcased the supportive parents and children who made Mrs. Meena's vision come true - 'To ensure that this scripture is passed down through generations'.