YUGPURUSH
: THE PLAY
The play
is directed by acclaimed director Rajesh Joshi of 'Code Mantra' fame, and
scripted by well-known playwright Uttam Gada of 'Maharathi' fame. The music
direction is by popular composer duo Sachin - Jigar. Duration: 120 minutes with
intermission. This play has a series of awesome reviews and testimonials, in addition to being from the stable of one of the most powerful dramas in Marathi - Code Mantra. Click the link to see the testimonials
How did The
Mahatma become just that : The
Mahatma? How did Mohandas Karamchand
Gandhi traverse the journey to becoming a Mahatma? This is the subject the current play under review attempts
to tackle, which it does remarkably well. This, however, is not a play on the
Indian Freedom Struggle; neither is it a play on The Mahatma per se, in that it doesn’t have The Mahatma in the primary role; the central character is a man who
should be known to us all – Raichand Mehta. {Click link to know more about this great soul} This is the story of The
Mahatma’s Guru, who played a key role in the formation of the views of The Mahatma.
THE
HISTORICAL ASPECT – AN EXAMINATION
First, let us look at the claim that the play makes
– as that Guru. There is some historical basis for this claim – as we can see
from The Mahatma’s Autobiography, Pg 81-83, and Pg 189 of The Story Of My
Experiments With The Truth, Navjivan Publishing House {To be reviewed on my
Blog}. I quote : “Thus, though I could
not place Raychandbhai on the throne of my heart as a Guru, we shall see how he
was, on many occasions, my guide and helper”. It is clear from this that
while the claim that the play makes is not fully borne out by the book I have,
it is reasonably accurate. We can proceed from this assumption.
Further, reading on in the same paragraph, we read :
“Three Moderns have left a deep impress
on my life and captivated me: Raychandbhai
by his living contact, Tolstoy by his Book – The Kingdom Of God Is Within You,
and Ruskin by his Unto The Last”. This sentence is most interesting and
critical in analyzing the script of this play – Raychandbhai has been specifically mentioned by The Mahatma as the only living person
who has influenced The Mahatma
deeply by his living contact. From this, we can accept the gist of the play, we
have sufficient indication for this acceptance.
THE PLAY
This is not a subject that is amenable to a theatre
presentation; this is more suited to motion cinema. Adapting the story to the
stage presents several challenges : how does one write the script to fully
show, with power and sufficient impact, the change in beliefs and thoughts,
personality and attitude of a simple man with normal failings and weaknesses into
one of the greatest living souls to walk our holy land? How did this incredible
transformation happen? The limits of space, time, content and technology seem
insurmountable – at first sight. At least, until someone of the caliber of this
team steps in and decides to do the seemingly impossible!
The aspect that impressed me the most was the
innovative usage of characters : normally you have one person playing a part –
here, we had two different people playing the part of The Mahatma, which was a treat, as due to this single seminal
decision of the Team, the message of the play became all the more clear and
strong. This understanding requires a more
than basic knowledge of the actual history of The Mahatma is the most siginificant downside to this. Nonetheless,
even to normal viewers, the message ought to have been more than clear.
Due to this, i.e.
two people playing The Mahatma, a few
significant advantages were achieved. You could see a flashback almost as you
would in a cinema. Second, you get to see The
Mahatma in two stages of his life at the same time on the stage : making
crystal clear the massive difference that had come in him by the time of his
last years. History is clear – The Mahatma
was increasingly isolated during the last years of his life, which is
forcefully brought home through this as you get to see the juxtaposition of the
young and the old Mahatma. The palpable
difference in approach as well as personality was there for all to see – the confident,
at times brash, yet sensitive young man, and the painfully old isolated elder Mahatma. Third, it becomes believable,
when you see two different people portray the two stages of a long life; this is
the advantage of the Drama genre as opposed to movies.
The core – the personality change, belief formation of Mohandas Karamchand Gandhi as he slowly transforms into what he finally became is also put forward with panache and elan; you have to keep in mind the limitations of the genre – theatre / drama – and within those limitations, what is there is actually stupendous. This is, as far as I recall from my readings as documented on my blog, alongwith a few not yet reviewed there {The Story of My Experiments with the Truth; Jinnah, Partition, Independence; India’s Struggle for Independence etc} – close to documented history. That said, such is the power of the play - due to its remarkably amazing perfomances, useage of stage space, direction and props - that I could actually hear two ladies sitting behind me, enraptured and commenting how they didn’t know this aspect of history. Now that is true praise – as it comes from somone not an expert on the topic, and yet was sufficiently impressed by it to comment as such.
CONCLUSION
Yes, there were weaknesses – but they weren’t mission
critical, and some of these were further limitations imposed by the genre
adopted for the adaptation of this story. There is actually little more you can
do to show this exceptionally hard change-over from one personality type to
another, deeper and far more powerful personality type. Thus far, I have focused only on The
Mahatma – not on the central character. That is by design. Suffice it
to say that I am stunned by this majesty and the power of the personality,
views and transparent genius of Shri Raichandbhai Mehta. To know more – please watch
the play!
The Best part about the play is it serves to give a
series of exemplary lessons to us about the deep aspects of the purpose of our
life, our approach towards it, dharm, and duties etc. These are driven home to
superb anecdotal evidence-based presentations, and sheer class of a performance
and direction. One dialogue and anecdote has stayed with me – “mag kaay dharmaache
paalan fakt sanvaari, ravivari karaave kaa?” Translation – So, one should
follow dharm only on festivals and auspicious days only? This was the response
of Raichandbhai on being asked how do you do business while strictly following
Dharm? A simple, hard-hitting question. And observation – you should follow a
dharmic life in all aspects, which is also what the Shrimad Bhagwad Geeta says…
all in all, if it were feasible, I would rate it 7 stars out of 5!
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