A performance of Manthretathu Namboothiri’s ‘Subhadraharanam’ Kathakali in the capital city opened with the splendid scene presenting the wedding of Arjuna and Subhadra. Arjuna, his majestic figure duly enhanced by ornamental fans on both sides of his headgear, occupied centre stage. Seated on the most respectable part of the stage, namely the right side of the lamp and close to the maddalam, proverbially the gods’ drum (devavadyam), was Lord Krishna, bestowing blessings on the couple through his smiles.
Indra, the groom’s father, sat on the opposite side. Krishna’s younger sister Subhadra, a bashful but visibly self-confident bride, meanwhile, stood to the left of Arjuna, exuding charm.
The hero’s right hand then stretched forward to hold the bride’s left palm. As the gods and other divine dignitaries watching the scene from above and showered flowers on the couple, they united in an embrace that appeared to signify the intensity of their love for each other.
Subsequently, the couple paid obeisance to Krishna, Indra and all the revered personalities who attended the wedding. This was followed by an exquisite presentation of the beautiful pathinja padam (dance-song in the slowest tempo) of Arjuna.
Kalamandalam Shanmughadas as Arjuna left almost nothing to be desired. All aspects of his handling the role, traditionally assigned to maestros only, were laudable.
His graceful make-up and costume, save for the skirt that was too short, neatness of gestures and body language, symmetry of postures and movements, nuances of emotional acting and context-sensitivity of improvisation earned the appreciation of one and all. Essaying the role of Subhadra, Kalamandalam Vipin proved himself to be wonderful match for Shanmughadas. He paid commendable attention to even the subtlest aspect of aharyam with minimal but imaginative acting appropriate to the context.
Adithyan, Athul and Balakrishnan, all trained in Kalamandalam, donned the roles of Krishna, Indra and Viprithu, respectively. Viprithu is the chief of the army, who guards the mountainous territory near Dwaraka.
Krishna’s role was minor but Adithyan enacted the same with the required sense of discipline. Indra’s part in the scene staged was nothing more than watching the wedding and blessing the couple.
Viprithu, with the red beard make-up, filled the latter half of the excerpt with lots of action. His steps and roars behind the curtain, ‘thantethaattam’ (‘acting of self-competence’) and delineating the arrival of Arjuna on the chariot driven by a beautiful woman, challenging the hero for battle and finally submitting to him were all impressive.
Kalamandalam Vishnu, ably supported by Kalamandalam Krishnakumar, rendered the quatrains and songs in full confidence and in strict adherence to the conventions.
Kalamandalam Venumohan and Kalamandalam Sreeraj on the chenda and Kalamandalam Vineeth and R.L.V. Jithin on the maddalam deserve a special mention. Drisyavedi organised the performance.
