Bolstered by a good script

UNITED Visuals prides itself on producing ``Socially relevant plays'' that revolve round middle class families. Laced with humour, they deal with the problems faced by this section of society whether in building a house, discharging family responsibilities or tackling emotional and financial crises. The themes are similar to those handled by many other troupes. But the script by Vedham Pudhidhu Kannan is generally absorbing and tightly knit as in ``Asaikkum, Aasthikkum'', proving once more that a good script is vital for a play's success.

``Aasaikkum Aasthikkum'' staged recently at the Narada Gana Sabha by United Visuals under the auspices of Kartik Fine Arts Club was woven round parental expectations and the circumstances that force youngsters to go abroad. ``The computer is God's boon to the Indian middle class in the 21st century'', says the mother of the software engineer. Her dream of affluence motivates her husband to send their son to the U.S. A fresh slant was sought to be given to the theme - do youngsters change totally after going abroad and begin to neglect their parents, failing to take their wishes into account?

The subject of daughters and dowry was the other theme that was dealt with. Here too, the slant was different with the in-laws used as a scapegoat by the girl to achieve her objectives.

The play that faithfully mirrors life in a certain social milieu attracted a large audience who apparently identified themselves with every twist and turn of the story.

A middle aged couple (S. Varadarajen and Nithya) have a son (Govindarajan) and daughter (Subha Ganesh). The daughter is married to a doctor Sukumar while the son, a computer engineer, wants to pursue his passion for Carnatic music. But owing to the glorious picture presented by his friend (Swayam Prakash), the protagonist packs off his son, much against his wishes, to the U.S.

Side by side are described the events in his daughter's home. The plot allows room for the writer to contrast cultures and lifestyles before absolving the youth. Though filial duty and love are the main thrust of the play, what comes through poignantly is the manner in which the dreams of youth are broken by some parents in their pursuit of their ``dollar dream''. The most sensitive scenes in the production are when the parents force their son to give up his musical aspirations. Also sensitively handled is the part where the parents express regret for manipulating their children's lives and choices. The dialogue has some good punch lines. But the daughter's arguments to justify her behaviour are full of holes. The artiste too needs to work more on her role. In the scene where she takes leave of her parents, the comic element borders on buffoonery.

Nithya has matured into an excellent actress and she outdid herself that evening. The role of the middle class head of the household - conscious of his responsibilities but sheepish and a little comic - has become second nature to Varadarajen as in this play. The ``Sambandhi'' couple (Malathi and Ramachandran) perform well as does their son (Sukumar).

In Tamil plays, the momentum that is built up in the first half is seldom sustained in the second half. ``Aasaikkum Aasthikkum'' was no exception.

All in all, however, the strong script and the acting made ``Aasaikkum Aasthikkum'', directed by Vedham Pudhidhu Kannan, an effort worth viewing and one of the better productions seen in recent months in mainstream theatre.

Respect for women

The most positive aspect of Pavvithralaya's ``Yamuna Kalyani'' presented at the Mylapore Fine Arts Club was that it underscores the need to respect a woman's feelings. Yamuna and Kalyani (Karpagam) are identical twins. While the elder girl is quiet and reserved, the younger, an extrovert, is quick to voice her opinions.

The prospective groom (T.V.V. Ramanujam) of Yamuna is bowled over by the vivacious Kalyani and wants to marry her instead, despite his father dissuading him. He manages to get his way and is quite happy with his choice till Kalyani's cousin (Pavvithralaya Kannan) arrives from Singapore claiming that Kalyani in his betrothed.

The post-interval syndrome steps in here in a drastic fashion. The play that was built up quite interestingly till then plummets with repetitive scenes that trace the growing suspicion of the husband after the frequent visits of the cousin to his house. The end only confirms what the viewer, if not the husband, had suspected all along.

The attractive heroine who manages to switch roles convincingly is an asset to the play. The groom's father Rangamani, a progressive minded man, is an unconventional character for a Tamil play. With his offer of sharing the wedding expenses and cooperating at every step with Kalyani's father, Viswanathan he is a refreshing change from the usual abrasive avaricious father of the groom. The frequent conversational sessions between him and his Sambandhi could have been curtailed. The playwright seems at a loss how to proceed after the cousin arrives and the plot just goes around in circles making some members of the audience give up and troop tiredly from the hall.

``Yamuna Kalyani,'' written and directed by Rangamani, is a good theme that loses its direction midway.

KAUSALYA SANTHANAM

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