Review: Kamalakshi (Music-Dance Drama)

I’ve never penned a review hot, hot. A first time for me. Forgive me for errors because I am not any authority in classical music or dance forms of INdia inspite of having touched the Veena for a few years of my early life (that I failed to capitalize on owing to family conditions). Anyway here it is:

Today is Aippasi Pournami and we have Annibhishegham in all Shiva temples across India. So I dashed to my street temple, had a peek at Him when the veil was lifted for a second by the archaka and made it in time to the musical dance drama in Naradagana Sabha this evening titled ‘Kamalakshi.’ But not before stopping at my tailor’s. Its rare for those like me to go straight to destination without getting fatigued running some errands on way to anywhere! So when I arrived, the hall was full already and I had to search for a seat. But I guess I probably missed only the opening scene – because time then was still only 6.35. Or may be I missed nothing and that was the opening.

Being a Mylaporean, I grew up watching live stage dramas in RR Sabha, Bharatiya Vidya Bhavan, Mylapore Fine Arts etc., as my parents were members of these sabhas. We attended year round most cultural events. Our house was also in proximity to Kapaleeshwara and Valleeshwara temples which meant we listened to free kutcheris (Karnatic concerts) round the year. Rarely had the treat of watching even those like Ilayaraja and K J Yesudas I think. So my affinity for stage dramas in Tamil is so much. My last live stage play was in Rani Seethai Hall, in Parrys corner, Chennai screened by Crazy Mohan (I think) (or SV Shekhar) and that was before I married! So imagine, watching a play after over 30 years! Live! Dance drama is something that my school specialized in. It was a permanent feature in our annual day and cultural day. So I am also kind of familiar with this art form of merging Bharatnatyam with Karnatic music. The pioneer award actually must go to my school as I have watched almost everything from Dasavatharam to Ramayana, Mahabharat, Nala-Damayanthi and other sub =stories etc., from younger years. In fact this is the main reason I wanted to watch the show today. It was like returning to my roots. So many memories flashed back from my teens in Mylapore.

Still I was not prepared for the quality entertainment that enriched my soul treating every sense of mine to finest art this evening. The music-dance drama exceeded my expectations. Kamalakshi is the best that could have happened to the evolving traditional art scene in Chennai in recent times. Even for laywoman like me, the kritis flowed like nectar to ears. I counted upto four: Thyagaraja yoga vaibhavam, Sri Kamalambike (Shree ragam), Teruvil varuvano , Hiranmayeem Lakshmim (raag: Lalitha). I am having problem recalling the one on Thyagesa, a rare one. Its ‘ruchelu?’ New to me. The Shringara rasam is always magnetic over the Bhakthi rasam is it not? The live renderings were awesome by Sikkil Gurucharan. I am listening to him in last one year only. This is why I would want to go for stage shows as well. They are way too different from recorded You tube uploads. You tube hardly does justice to a classical artiste. Unless Gurucharan’s kind of Bhakthi is there for Devi, art makes no sense to me. His bharatnatyam consort (!) I mean the dancing partner Sumitra Nithin was equally good but I must admit I am blank both on Carnatic and Bharatnatyam. Not exactly qualified to do this review but then this is my blog and its entirely upto me what to do and what not to do here! Standing ovation to entire cast who were so natural on stage. Every single character stood out in performance carving a niche for himself/herself. Neela’s rendering was equally great. I liked her slightly husky voice that sounded a bit like Harini. I prefer that kind of throaty voice to too very sweet tones like KS Chitra for instance. The dictionldialogue delivery of the play got me: crystal clear without a confusion. No mix-ups, picture perfect – which means terrific practice. I wouldn’t give any other reason for success. The length of the play was that of a celluloid flick: running just a little over 2 hours. Some editing can help.

The plot was predictable and as such looked like a lift from Thillana Mohanambal or it could be the other way around: it is possible that the 60s classic cult Tamil picture was based on Kamalakshi (if the legend is true). The destiny of Devadasis! But in real life I knew a family. They were originally from Thirumullaivoyal. When the system was legally abolished during the time of independence, the daughter of the family who lived to a hundred years married a wealthy cardiac surgeon in those days. The late matron left behind dozens of beautiful daughters, granddaughters and great granddaughters highly accomplished and serving as doctors and software engineers in India, Malaysia, UK and the US. They are all classic beauties even today. You have to watch their body language. Strangely not a single male progeny for generations in that family! Nobody would believe their roots today but my family (parents and in-laws) alone is privy to their origins. Sincerely it is not a shame at all and I do regret that they have to still hide their origins. Whatever remains of them as of now as family in the city is stinking rich, but class. They maintain a low profile but their past history hardly matters in present day context. What now I am remember is that the grandma of the family got bunch of season tickets for December Music festival of Chennai for decades, driving from one sabha to another. It made sense to me only when I grew older.

Pat on the back to the Mirasudhar who captivated the audience with his stellar performance. Although the play was in English language, the accent was so Tamil that I believed it was Tamil almost! A word on settings and lightings: muted and subtle appealing to your finer senses, no wonder because PC Ramakrishnan was behind the scenes literally! Smooth transition of the stage scenes with no hick-ups. The Thiruvarur sannadhi set looked surreal – I mean too real! Took very little but added precious backdrop to the drama. Acoustics weren’t to be left behind. Good audio infused the much needed life to the programme. Just the right frequency so as not to screech at your ears or echo.

Of course, I hope to be in Thiruvarur before the end of this year. The cross-legged Kamalamba is my all time favourite. I do notice the Yogic poses of our deities. My Lalitha dangles Her left leg and has Her right folded. Mookambika and Kamakshi sit in lotus pose. Bhuvaneshwari has Her right leg dangling and left folded! Kamalamba is the only one with that curious Yogic posture of Hers. My other favourite is Badra Kali. I don’t curse but I tell my Kali always this: whoever harasses a woman, write down his Karma like he watched his mother changing! To that extent, I converse with my Devis/deities. I feel the goosebumps, vibes at opportune moments for decades now.

I wasted a ticket that I was to gift my friend who is into classical. Very recently she even flew to Trivandrum to watch a live concert in Navratri Mandapam. But she took ill so couldn’t attend. I wish she had because she is an exponent in Carnatic. And she is precisely someone who could have given the technical comment. I am just a connoisseur of good art – classical that is. I am sick of commercial cinema that is going third rate. Maintaining uncompromising standards is also important in a society but I do agree, masses need their share of entertainment too.

Delighted to find the auditorium packed. Still shocked to observe people packing bonda after bonda into their mouths when the screens were down and even when I entered the sabha! Had i had a friend, I would also have nibbled at a bonda over a cuppa! Missed my friend Sundu really.

I want to close the post sharing the strongest vibe that I felt in the climax. Only Shakta followers can get me. When Kamalakshi drops lifeless swirling to Sivaguru’s vocal in the sanctum of Thyagaraja (Shiva) in the Tiruvarur temple, involuntary tears welled up my eyes and rolled down my cheeks. I felt a strong vibe that I occasionally do in my pujas or temples or at other rare times. As I sense that the cast and production unit may be Shaktha followers or at least ardent followers of Shakthi, I am sharing this vibe of mine with you. I thought Kamalakshi was there this evening. For a moment I doubted if it was Thyegesa Himself. Because I got a doubt whether Kamalakshi was fictional character or real life character as this is a story penned by one Mrs. Sujatha Vijayaraghavan that could be based on inputs from hearsays. Is there a temple edict for evidence. I need clarification on this. I can tell this much to Sumitra and Sikkil Gurucharan: believe me I felt strongest vibe of whoever it is in that last scene. I found myself whispering quietly, ‘is it you Kamalakshi or is it Thyagesa. who among you is here this evening. My vibes tilted mostly towards Kamalakshi. Even as I type this, my face has lost its sense for 45 sec or so and i feel like my head is bobbing in space. I just got a confirmation right this moment. Someone WAS there! But who will believe me if I tell them this – other than my guru and fellow Shaktha maarga shishyas.

Karnatic music is divine. Bharatnatyam is divine. As an ardent devotee of Devi Shakthi I sense this every single day of my life as I listen to Navavarana kritis or any Devi krithi. We all must treat the traditional art forms of India with utmost reverence and desist from smudging the arts for personal gains. Of the Trimurthis of the Karnatic, I am partial to Muthuswami Dikshithar because he composed/ sang most of my favourite Devi kritis (in my limited knowledge that is) so when most go gaga over Thyagaraja, I have a soft spot for Dikshithar.