Obsession runs in the family: the father is obsessed with an aasan called surya namaskar, the elder daughter -- who is dumb -- with modern verse, the other with short-story writing and the son with astrology. A poet and a hunter visit their house and fall in love with the elder daughter. The sub-plot of the play involves another love triangle -- that of a crook, the younger daughter and her friend, an aspiring actress.The wafer-thin story line of Sashtang Namaskar, a classic comedy, written by celebrated Marathi playwright, Acharya Atre in 1932, surprised critics by becoming a hit. The play was an instant success, in the '30s and '40s, and has seen many revivals since. The latest, produced by Suyog and directed by Vijay Kenkre, is also doing quite well despite rumours that it may close down.
The revival of this play -- Atre's first ever -- is part of the celebrations of the birth centenary of its playwright. But that it is his first play is not the only reason why it was chosen over others.Marathi theatre has always been choc-a-bloc with situational comedies and many farces. It's the comedy of manners that has been neglected. "Sashtang Namaskar is a comedy of manners," says director, Vijay Kenkre, "It doesn't have a conventional story line as such and all the comedy that happens, revolves around the obsessions and the basic nature of its various characters." The play does not adhere to the pace of a normal comedy but its dialogues do the trick.
Yet, reviving an old comedy is, indeed, a risk. "Some plays, however great they may be, can only be read after some years. But when I read this one, I didn't feel the same," says Kenkre. His inclination, as a director, towards comedy was also responsible for the pick. And revival, for the director, didn't mean change. The playwright has been paid due respect. The comic punchlines have not been touched and the obsession for surya namaskar has (to suit modern tastes) not been altered to that of karate or some such other gimmick. The playhas only been edited to a certain extent and the 1997 production has even maintained the ambience of the '30s.
But, do revivals without many changes work? Here, the director and the entire production unit banked heavily on the nostalgic feeling that each person harbours. It was a gamble and at the same time a safe bet. "I was confident that at least some part of the audience would be with me; especially those over 40 years of age," says Kenkre. Many elderly people have been getting their children along to watch this modern classic.
"Marathi audience is a mature audience. They can digest an offbeat dialogue comedy," says drama critic, Ravindra Pathre. This was the reason why Kenkre dared to take it up for direction. But critics allege that the play has not quite gelled with a considerable section of theatre goers. As of today, the play has an upper hand in the number's game -- it has performed 54 shows since November 1997, which according to the standards of Marathi theatre is good going. But one cannotreally tell if people have been coming to watch the play or to see Marathi film actress Alka Kubal, who is part of the cast; especially since most of the shows have been performed outside Mumbai, where she is very popular.
But Marathi theatre has seen many revivals and the confidence of having done comedies like Shoo.. Kutha Bolaycha Naahi and Asa Me Asa Me, keeps the director going. In fact he is confident of touching the 100-show mark. This, after he admits that the play may close down later for want of a well read and a repeat audience for a dialogue heavy comedy.
At the Tata Theatre, NCPA on March 15, 1998. Time: 6.30 pm.
Copyright © 1998 Indian Express Newspapers (Bombay) Ltd.
