As the relentless sun imposes its scorching dominance over Chennai, causing residents to seek shelter from the pervasive heatwave, there emerges an oasis of cultural refreshment. The city’s sabhas—an integral part of Chennai’s rich tapestry of arts—pivot their focus towards the vibrant world of theatre, launching an eagerly anticipated festival of plays. These showcases provide a much-needed escapade with a variety of themes, including comedy, historical narrative, and socially-driven stories.
One such esteemed institution, Bharatiya Vidya Bhavan, unfolded its annual week-long theatre festival with an array of performances that embodied the diverse heartbeat of theatre. This cultural feast featured an eclectic mix of four Tamil plays, a bilingual creation, and a standout ‘Dramathon’—a tapestry of six short plays that captured the audience’s imagination.
The highlights of the Dramathon were inspirational narratives culled from acclaimed festivals such as the Short and Sweet Festival by Prakriti Foundation, Kiss Festival by Poochus Productions, and Ten Ally Drama by Theatre Marina. The thematic variety and exceptional quality of these theatrical pieces converged to make the Dramathon a compelling experience.
Among the standout performances was “Deva Kanya”, directed by Namritha Kalai. The play delved into the harrowing experiences and the deep emotional fissures experienced by devadasis following the enactment of the Madras Devadasis (Prevention of Dedication) Act. Casting a poignant glance into a bygone era, the actors delivered a performance filled with conviction, leaving the audience touched by its intensity and authenticity. While the historical nuances of costume design required fine-tuning, the overall portrayal was both persuasive and powerful.
Another play that stole hearts was “Muruganai Kaanom”. Directed by Arun Rajkumar, it featured a grandmother-grandson duo, vendors of religious offerings outside a temple, who weave an imaginative tale around the sudden disappearance of a Murugan idol. Here the narrative hinged judiciously on the comedic brilliance and impeccable timing of its actors—attributes that rendered the play thoroughly enjoyable and endearing.
In a showcase of theatrical creativity, “Dabba Nadgam” by Abhishek Srinivasan, exhibited how minimalistic elements could be harnessed to weave an impactful narrative. The performers, garbed in black, oscillated between multiple characters and even enacted as props within a singular frame, perfectly executing moments that unraveled with the charm and tenacity of a cinematic fight scene in slow motion.
“Meeting – the Conscience”, directed by Prasanna Rajaram, brought forth a contemporary flair by depicting an alliance between two politicians. Providing a counter commentary, their alter egos personified by two other actors unveiled concealed aspects of their past. Although, the satire teetered on excess at moments, it maintained a sharpness that resonated well with present issues.
“Akkara Adisal” and “Puratchi Onguga” served as reflections on domestic legal scenarios and political movements of the 1980s, respectively. While Aiswarya M’s “Akkara Adisal” garnered applause for its robust domestic scenes despite a less engaging courtroom sequence, Karthik Mohan’s “Puratchi Onguga” powerfully captured the turbulence of unemployed youth despite lacking comedic strength.
The embrace of short duration plays comes at a time when dwindling attention spans challenge traditional modes of entertainment. Yet, the overwhelming turnout at these performances attests to their magnetism and relevance. These succinct narratives not only demonstrate the adaptability and evolution of the performing arts but also underline the immutable power of theatre to captivate, convey, and inspire—albeit within the span of concise and impactful moments. The success of these short plays in Chennai signals a continued appetite for vibrant, concise storytelling that transcends the constraints of time and space to leave a strong, enduring impact.
