In the movie world, there exists a jinx that films based on the film industry such as Velli Thirai or Mugavari do not succeed at the box office. The film-goers are captivated by what goes on screen, but with regard to the backstage, there is pronounced disinterest, goes the belief. But no such thing can be said of the theatre, going by the reception accorded to a new play — Nadagam — on the halcyon and trying times of stage-plays. This new play is directed by Y Gee Mahendra and written by Chithralaya Sriram. For a sexagenarian who has now spent five decades in the theatre, Y Gee M attempts a near-biographical with Nadagam. As an actor who has turned down several film roles for his love of the stage, Y Gee M hardly needs an extra effort to convince us of the conviction of Sabhakaran, his role as the man who insists that theatre arts will survive, no matter what.Odes to theatre, naturally, are aplenty in the play, from portraits of Nawab Rajamanickam Pillai, Sankaradas Swamigal and TK Shanmugam that decorate the walls for most of the time. The protagonist’s name Sabhakaran is in itself a tribute to the several show organisers who patronise the stage culture. There are also personal tributes paid by Y Gee M, one of the staunchest fans of Sivaji Ganesan. There is a telephonic conversation with the Nadigar Thilagam (interestingly woven into the film), his portrait hangs on a wall separately, while there is also a reiteration of the angst that Sivaji was not given a National Award.The story is simple: how a theatre artiste wades his stage troupe through the challenges following the introduction of Doordarshan and local TV channels. Playing this theatre-buff is Y Gee M, enacting the role of Sabhakaran with elan. Sabhakaran is a confused man at first, losing heart over dwindling footfalls for his plays. He even almost cancels one for want of audience. But an encounter with a visually-impaired fan (enacted on the day of the review by Yuvashri) wanting to hear his plays changes him forever, and he later preaches other theatre artistes to stick to the medium, loyally. His character runs through the length of the play, and in a sudden, unexpected twist, leads to the poignant end to the play. The ending seems to come a tad too unexpected, and the climax following a revelation in the form of a letter, though interesting, does seem contrived.But for most part, the play entertains — not trying too hard at that — but doing so naturally. The stage will thrive for its direct connect with the audience and the spontaneity of the artistes. And that spontaneity helps Nadagam to not merely survive but flourish. The penultimate scene of the play, recreating the feel in a train, is a visual treat, thanks to the detailed backdrop by Ravi and Vijay.Nadagam is right from a heart that is in the right place. Like the UAA team that has done the play to reiterate its commitment to the stage, watch the play if you wish to reaffirm your love for the art form.[email protected]
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