Kongai Thee was staged at Alliance Francaise in Chennai.
| Photograph Credit score: R. RAGU
Shraddha’s newest play Kongai Thee, written by Indira Parthasarathy reveals us the modern relevance of Silappadhikaram. The author’s highly effective strains struck a deep chord with the viewers.
The play opens with Kovalan (Swaminathan) returning house after an extended absence. He flatters Kannagi, and tells her that it’s flawed for a lady to be pretty and never concentrate on it. However as a jealous lover, he’s indignant when Madhavi later says the identical factor to him.
Madhavi factors out the double requirements that the world has. Cauvery doesn’t spurn the Chola king, as a result of he has conquered the Ganges.
That is the dharma laid down for a person — that he can search consolation within the arms of one other lady and but come again to his spouse, as if nothing has occurred. The dramatist factors out that Madhavi’s dance is priceless however sadly, Madhavi has a worth. Kannagi and Madhavi are victims, not of destiny, however of a social system that places them in straitjackets. Kovalan accuses Madhavi of being incapable of real love, as a result of she is just a courtesan. And Madhavi retorts that ladies like her had been created, in order that males would realise the greatness of their wives.
The play additionally stood out for its music and well-choreographed dance
| Photograph Credit score:
R. RAGU
Kavitha Shivakumar as Kannagi performed her position with aplomb, first as a meek, unquestioning spouse after which as an avenging lady. However this can be a position that gives scope for motion. Madhavi’s is the tougher position to play.
Preethi, as Madhavi, scored by way of her mischievous smiles, her sarcastic jibes, and her quiet ache. The exchanges between the 2 narrators — Maadalan (Sabarish) and Devandhi (Janani) had been full of life.
The play introduced alive an epic love triangle
| Photograph Credit score:
R. RAGU
Music was by Janani, whose alternative of ragas captured the feelings of the verses. Ragas Amritavarshini, Desh, Hamirkalyani and Vaasanti had been used successfully within the Indira Vizha scene. Preethi’s choreography conveyed the essence of the verses. Conventional percussion devices similar to mizhavu and thudumbu had been performed by Sashidhar and Ashwin. Janani, who sang the songs, used a yazh as a drone. Using historical devices lent an air of authenticity to the music. The devices had been sourced from URU band.
With Kongai Thee, Krishnamurthy has proved his mettle as a director.
