LAHRON KE RAJHANS – A War Inside - A Review of Stage Play by Hemant ‘Him’
(in Kalidas Rangalay, Patna on 22.08.2014)
Commitment of a man (or woman) is never perfect. It exists only as much as it doesn't. A man always lives in a state of dilemma.The character of the play tries his best to show his blind love to his beautiful wife just to maintain a harmonious relation with her. The beautiful wife thinks that she is so charming that his husband will surely come back to her even after meeting the super-charmer Gautam Buddha. The husband goes to meet Buddha but yes, still remain under the influence of erotic bond of his wife. The love to wife prevails in his mind even while getting his head tonsured. He take initiation into Buddhism reluctantly before Tathagat (Buddha) just to offer a courtesy to his step-brother Tathagat (Budhdha).
After some time, the man comes back to his house with a pretension of begging for alms and meets his wife. His wife is shocked at the sight of tonsured head of his husband. The wife, a believer of aestheticism rejects her husband as he does not look attractive any more. The husband clarifies that he is disinterested in her as well. He further reveals that he felt infatuation for his wife while taking ‘diksha’ (initiation) of Buddhism but now when he has come back to ther, he feels attracted towards asceticism. The husband leaves his house and the wife is now in deep consternation.
My suggestion : As the drama required show of inner feelings and conflicts to the extreme, more and more dialogues should have been delivered from the front of the stage making the facial expressions more visible to the public.
The play is of high class written by legendary dramatist Mohan Rakesh. The language is replete with Sanscritised Hindi. The purity and Indian flavour maintained in the set design was remarkable. Sharada Singh was able to bring the inside story of conflicts out straightforward to the public. And the main character Sundari played by the director herself was brilliant. Suman Kumar playing Nanda was also superb and Uday Singh (Maiatray), Shyamanag (Bhikshu) did justice to their character. Vinita Singh (Alka) and Shashank (Sunil Kumar) had many dialogues and delivery was up to the mark.
After some time, the man comes back to his house with a pretension of begging for alms and meets his wife. His wife is shocked at the sight of tonsured head of his husband. The wife, a believer of aestheticism rejects her husband as he does not look attractive any more. The husband clarifies that he is disinterested in her as well. He further reveals that he felt infatuation for his wife while taking ‘diksha’ (initiation) of Buddhism but now when he has come back to ther, he feels attracted towards asceticism. The husband leaves his house and the wife is now in deep consternation.
My suggestion : As the drama required show of inner feelings and conflicts to the extreme, more and more dialogues should have been delivered from the front of the stage making the facial expressions more visible to the public.
The play is of high class written by legendary dramatist Mohan Rakesh. The language is replete with Sanscritised Hindi. The purity and Indian flavour maintained in the set design was remarkable. Sharada Singh was able to bring the inside story of conflicts out straightforward to the public. And the main character Sundari played by the director herself was brilliant. Suman Kumar playing Nanda was also superb and Uday Singh (Maiatray), Shyamanag (Bhikshu) did justice to their character. Vinita Singh (Alka) and Shashank (Sunil Kumar) had many dialogues and delivery was up to the mark.
.....
Review by - Hemant Das 'Him'
Photograph by - Bihari Dhamaka blog
Review by - Hemant Das 'Him'
Photograph by - Bihari Dhamaka blog
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