Sep 22nd 2012
ACT Theatre, Seattle
"Ramayana is an age old story that has persisted through generations as a religious text to the faithful, as a literary text to the scholars, as an historic document to the believers, and as a bedtime story told by grandmothers to almost every kid growing up in India and beyond." This all encompassing opening line had already set up the stage for a wonderful performance that was going to be staged tonight.
The thoughtful narration read by Agastya Kohli was for a refresher to some, an insight to others, a learning to yet others. But even beyond that, with every female character from Ramayan it gently touched upon, the narration also triggered a string of thoughts within one self; of why's and why-not, of who's and how's, of justice and in-justice and of the of the more probable reasons for which these events had taken place. For instance, who was to be wronged when Ahalya failed to receive justice. This and many other instances, one was forced to program oneself, to re-think about the story of Ramayan from a fresher perspective.
The dance sequence started with Mandodari performed by Pratidhwani. Mandodari gestured very motherly. Next was a kind of disappointing choreography of Ahalya's story. There were inapt Western influences, which in my personal opinion, if replaced with some classical gestures in an attempt to display those same romantic feelings, could have had a much intenser impact while also being more apt in acordance with Ahalya's pious demeanour and the rest of the program. Besides this one off-the-track compositions, the other dances whether individual or collective gripped the audiences attention and gathered a lot of encouragement. The Pratidhwani group, puts immense efforts on their costumes and accessories. Multiple dance performances an year, leaves them with tons of elaborately designed and many intricate hand and machines stitched dresses; one which they able to use from their previous performances Darling Tere Liye to play Mandodari's heleprs or sakhiyain.
'Vidya Guhan' of 'From Within Nucleus' performed more than just any classical Bharatnatyan. Her depiction of the nine rasas as experienced by Sita in her expressions and hand gestures gave gossebumps everytime she moved on to a new rasas. For instance, when she depicted shringaram, I could hear the tinkling of little bells beaded to her imaginary duappatta, as she draped it around her neck. When she dipicted veeram, there was a Rani Lakshmi Bai in front of my eyes. Her depictions of beebhastam and bhayam, both while squatted on the floor, gestured with her hands and facial expressions alone, suddenly filled me with deep empathy; in two very different ways; for that poor soul suffering at Ashoka Vatika. After karuna and hasyam, she depicpted Shantam in a couple of different ways. The last one where she closed her eyes, seemed to emit strong vibes of peace in all directions starting from the center where she stood so quietly.
Next Shahana Dattagupta shared a very personal experience of the several coincidental events that inspired her to finally think deeper. A description of Ram's personality, as experienced by any believer in general and not necessarily a she's opinion alone; was picked up from a Bollywood movie. Her beautiful voice captivated the audience - as always.
I had the opportunity to see a full fledged performance by The 'Urvasi Dance Ensemble' for the first time. They have made tremendous achievements, training classical dances to people of non-Asian origins with such perfection and fineness, that their perfection could easily leave professional South Asians dancers in awe and surprise. However I either missed a portion of the transcript, or there was a missing piece in the puzzle, which my blunt mind could not grasp. At the opening scene, it felt like the performer is Ravana. Ravana who starts this act with intense hand and torso movements, gradually leads the way to some highly advanced Yoga Mudras (being a revered Yogi himself), and finally depicting intense rage in his eyes. However later another dancer sitting quietly and patiently (not depicting as if in any deep meditative posture either) turns out to be the real Ravana and the seeker of performer's blessings; the performer who turned out to be none other than Shiva himself. In scene two, the toad and snake hopped and sneered artfully. But then again who was the elderly lady draped in that red sari, appearing from time-to-time in different roles? Some additional description if added to the narration would have indeed been helpful. For instance why did she have to die in one the scenes at Ram's arrow, when this other dedicated Ravana could have born the brunt of it? And plus why was she constantly pointing to her heart in her last moments?
Basically one person performing multiple roles and the same role performed by multiple performers in a 5 min act, caused confusion in the viewer's mind.
In addition to the dances described above, there were several other beautiful performances. Kaushalya is re-enacted by different performers and each time her tender motherly affection; when she gently lifts imaginary Ram, emaciates from her entire being straight into the hearts of every mother having come to watch her tonight.
The beautifully choreographed dance sequences come to an end too soon. And now the deeply thought well written narration ruffles up newer emotions, as it very gently brings up and intelligently tackles one of the biggest controversies in todays 'shes' mind. The argument and counter argument picked up from famous conversations in the past on whether the Agni Pariksha was justifiable or not, leaves a ever lasting thirst to worship, read, believe and discuss Ramayan more than it has ever been done in the past.
पुनि पुनि कितनी ही सुनी सुनाई, हिय की प्यास बुझत ना बुझाई,
सीता राम चरित आति पावन, मधुर सरस आरू अति मन भावन
Puni Puni Kitni hi kahi sunaii, Hiya ki pyas bujhat na bhuja-ii.
Sita Ram Charit Aati Pawan, madur saras aaru aati man bhawan.
