Drama Review - Yugpurush {Marathi}


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.

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.

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.

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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