Epic for mere entertainment?

AT FIRST, it seemed strange and incongruous. Kalidasa's Abhijnana-Shakuntalam, produced in English, with contemporary music and dance? Was this a parody or a satire? It was neither, but it did evoke controversy like never before- the opinion of the populace or that of the purists? Artistic liberty is subjective in the best of times, but the dance theatre production of The Temple of Fine Arts International, did beg the indulgence of the audience on more than one occasion.

It was a professional presentation, with creative set designs by Sashidharan and exceptional light effects by Viswaraj. The special effects were mesmerising, as they took the audience into the magical world of celestial beings and into the depths of penance forests. The dramatisation was tasteful, and the many children, who took part as forest animals, and as the children of the hermitage added a touch of warmth. In the movements there was rhythm, there was style, but where was the aesthetics? The freestyle dance steps were sometimes suggestive and did no good to the presentation. Especially avoidable were the love scenes between Sage Viswamitra and the celestial Menaka, and between Dushyant and Shakuntala. One dance sequence that was much appreciated was the dance of torment, as one may call it, when Dushyant loses his sense of balance unable to recollect memories of Shakuntala. All the fingers of destiny, dressed in white, if you please, toss him around, and keeping him away from his beloved.

Madhavya, a companion of King Dushyant introduced all the characters with great gusto except the two main protagonists. The story then began and the scene was with King Indira where he is distracted from his pleasures by the searing heat of Viswamitra's penance. The story flowed smoothly although unevenly due to the meanderings of the screenplay. Crisper editing would have made the production more acceptable. The adopting of Shakuntala by Sage Kanva and her growing up in the ashram among the forest foliage and animals was a sensitively choreographed scene. The prayer routine of the ashram that followed, though aesthetic, was unrelated to the story. Shakuntala's journey to her husband's palace by boat was a remarkable sight. It was one of the highlights of the dramatisation. She is heartbroken when Dushyant does not remember her. Her celestial mother, Menaka comforts her - ``Weep no more, my dear. We are all mere puppets whose hands are held by the strings of destiny.'' The couple reunites at last. The long drawn out saga took almost three hours... Chennaiites are certainly an indulgent lot.

Both Umesh Shetty, as Dushyant, and Manju Radhakrishnan as Shakuntala were compelling in their roles. Others who stood out were Shakuntala's friends, Anusuya and Priyamvada, and Dushyant's companion Madhavya, who added a touch of humour to a serious tale. The Chinese scriptwriter, Lam Ghooi Ket, too deserves mention for his understanding of a story set in an Indian milieu and in a time long past. The Siva Shantha Trust and its offshoot, the Temple of Fine Arts International, both founded by Swami Shanthanand, may be commended for preserving and spreading Indian culture with this mega production involving a cast of over 55, including 16 children, most of whom are from Singapore, Malaysia, and Australia. It was entertainment all the way but could this effect not have been achieved with more sophistication and elan?

RUPA SRIKANTH

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