Play questions the festive fervour

More than devotional and religious sentiments, festivals these days are about exhibitionism. It is based on this perception that Mohit Takalkar brings to us a satirical and a humorous commentary in the form of Beediyolagondu Maneya Madi. Written by Champra Deshpande, the play talks about the ‘degenerating nature of religious festivals and disproves traditional dogma in a realistic setting.’

The occasion is the much celebrated Ganesh Chathurthi. The original play which was in a Maharashtrian setting, right in the thick of Pune’s middle-class, Brahmin dominated locality. But writer Surinder S has tweaked and modified the screenplay and characters to fit the Kannada aura. “The most important point that one must keep in mind while writing about Indian festivals is the diversity. I’ve tried to pick the characters from their setting and mingled a Kannada essence into them now. The protagonist has lived in Bengaluru for long enough to have a mindset that’s in stark contrast to his aunt who harbours authentic Maharashtrian values. Weaving the balance was aided a lot by my various experiences in living across multiple cities in India,” shares the playwright.

The story shows the protagonist, Shreepad and his wife Sukanya arriving to an agreement. Every alternate year, the commotion of the festival of Ganesh Chathurti will not disturb the sanctity of their home. In simple terms – no celebrating the festival and not even allowing its slightest sound or whiff to penetrate their house. “Shreepad’s logical, reflective and philosophical rationalisations are balanced by the more immediate necessity of the situation that is both habit and religion driven. His wife, Sukanya, puts forth ample complaints but despite that nothing changes. Yet the firmness to his resolution is faltered once his aunt arrives. He seems to be silently protesting to her demands but chooses to keep shut too. There’s more than a single layer to his character,” believes Venkatwsh Prasad, who plays Shreepad.

Humour and twist in the tale storms in, in the form of Shreepad’s old aunt. The lady arrives with her family unexpectedly with the sole intent of watching the procession. As veteran artist Shrunga BV says, “The aunt’s voracious desire to witness the procession and Shreepad’s staunch refusal to allow her to do so sets the satirical tone of the play. The aunt takes turns to explain the situation to her nephew and is often found scheming with the others to sneakily see the procession. While Shreepad contributes to the element of muted tension, she adds a contrast with her vocal nature.”

The play also successfully evokes the mores of a middle-class, Kannada household as everybody await the final outcome of the battle of ideologies. Yet director Mohit Takalkar believes that more than being about sentiments and ideologies, the play is about how painstakingly vulgar celebratory means have turned into. “It’s ironic how the play was written over a decade ago and is finding its relevance now. Yet, my favourite element of the play is how both sides get a say. The play’s script and plot encourages us to debate over issues like these.”