A new Kathakali play, Maha Prasthanam, retells the Pandavas’ last journey with fresh choreography and storytelling.
Numerous new Attakkathas (Kathakali plays) have been written and performed over the last three decades. However, works like Mali’s Karnasapatham, Vaikkom P. Rajasekharan’s Arjuna Vishada Vritham, and some of Dr. Sadanam Harikumar’s plays have seldom found the opportunity to be restaged. This is mainly because of the audience passion and interest towards the old traditional plays. Many writers have drawn heavily from epic sources such as the Mahabharata and Ramayana. Among the recent contributions, Maha Prasthanam, an Attakkatha by Kathakali artist Kottakkal Pradeep, stands out.
Mahaprasthanam had its premiere at the Vazhenkada Kunju Nair Memorial Trust. It was organised by Kalayami Cultural Trust, Manjeri. The play was supposed to made its inaugural performance two years ago at Kathakali festival based on “Mahabharatha’ stories at Mridanga Saileswari Temple, Muzhakkunnu, near Kannur, but its performance was delayed due to technical issues. Finally staged after a two-year hiatus, Mahaprasthanam recounts the final journey of the Pandavas and their wife, Draupadi (Panjali), after the Mahabharata war.
The play opens with the Pandavas paying their last respects to Lord Krishna, recently deceased. Thereafter, the five brothers and Draupadi decide to leave their palace in Hastinapura to get on on a vanaprastha (life in the forest). Their journey is filled with trials. Bheema struggles to move a fallen tree obstructing their path, and Arjuna is physically weakened after discarding his famed bow, Gandiva. As they continue, Draupadi, who walks at the rear, collapses. Nakula and Sahadeva soon follow, and finally, the valiant Arjuna falls. In the end, only Yudhishthira and a dog, who has accompanied them, survive. True to the epic’s narrative, Yudhishthira ascends to heaven, discovering that the dog is none other than Dharmadeva.
Innovative choreography
The play, which runs for over four hours, is structured into seven acts. Kalamandalam Manoj, an accomplished Kathakali artist, took on the role of Dharmaputra and also choreographed the play. His son, Jishnu K. Manoj, a cultural activist, directed the production, with music composed by Sadanam Sivadas. Notably, Maha Prasthanam departs from conventional Kathakali choreography, showcasing Manoj’s dual background in theatre and Kathakali. This influence is evident from the opening scene, where the Pandavas offer Bali (ritual offerings) to Lord Krishna.
The percussion in this scene, reminiscent of the Sandhyavela ritual performed in temples at dusk, sets a unique tone. Another distinctive moment occurs when Sahadeva performs a padam (song) in the rare Tripuda tala, typically uncommon for a Pacha character. The scenes depicting the fall of the Pandavas also employed theatrical techniques, lending the production a fresh approach while remaining rooted in the Kathakali tradition.
Stellar performances
Performance-wise, the younger generation of artists filled the roles with enthusiasm and emotional depth. Manoj portrayed Dharmaputra with a restrained emotional intensity, though his performance appeared less synchronized with the character towards the end, particularly after the Pandavas’ fall. He, however, maintained the Sthayibhava (permanent mood) of the character throughout.
Kalamandalam Neeraj and Kalamandalam Vaisakh Rajasekharan, two promising young artists, delivered compelling performances as Bheema and Arjuna, respectively. Kalamandalam Vipin Shankar and Kalamandalam Adithyan portrayed Nakula and Sahadeva with charm and expressiveness. FACT Biju Bhaskar’s mature portrayal of Draupadi was particularly noteworthy.
Another standout role was that of Dharmaswavu, the dog that accompanied the Pandavas on their journey. The newly designed costume and makeup were both visually striking and fitting for the character, with Kalamandalam Sreeram shining in this challenging role. Kalamandalam Shibi Chakravarthy and Kalamandalam Arunraju added depth to the play with their portrayals of Dharmadeva and Indra, respectively.
Sadanam Sivadas, an experienced Kathakali singer, composed the music for the play, contributing significantly to its success. Despite the overall melancholic tone of the production, Sivadas expertly selected ragas that suited the lyrics. Sadanam Jyothis Babu and Jishnu Nambudirippad supported him in singing, while Sadanam Ramakrishnan and Sadanam Jithin performed on the Chenda (drum), with Kalamandalam Haridas and Kalamandalam Vysakh on the Maddalam. The lyrics, composed with stage performance in mind, were both impressive and simple. The philosophical nature of the narrative and the dialogues added a layer of depth, distinguishing Maha Prasthanam as a fresh and innovative take on Kathakali.
Photo credits: Shaji Mullookkaaran
1 Comment
A welcome step.