Prangan staged the play 'Charulata' on 16.9.2018 in Patna

The wars within

The  event happening out in the open world is nothing it is actually what happens within your mind that  matters. How would you describe if a man is going abroad for higher education, his elder brother accepts an offer of becoming the editor of a prestigious periodical published from another city  or a wife agrees to the view of her hubby to join him while going to settle in that city? Without an iota of doubt, you would say wonderful, very nice. But dear reader,  all the three situations are actually three most tragic situations in a drama called 'Charulata' written by Rawindra Nath Tagore. To know how just go through some of the following paras. 

The period is before Indian independence. Bhupati runs a political newspaper and has a beautiful wife Charulata who has a keen interest in art and literature. As she is childless and feels boredom in loneliness because of her husband's engagements in  newspaper works, Bhupati calls Umapada the elder brother of Charu and his wife Manda to give company to Charu. As Manda is very rough in behaviour and not a fit match for culture inclined Charu the problem of boredom is still unresolved. Once Amal, the cousin of Bhupati and poet comes to his house and is requested by Bhupati to help Charu in her cultural interests. Amal and Charau have common interest in poems so they develop a good bond. 

Amal helps Charu in getting her poem published in a prestigious magazine. Now Charu feels some pride her achievement and shows more interest in her poem than that of Amal. Amal feels hurt so he  goes to Manda and pretends to  develop friendship with her. Charu feels jealous on this and is angry. She poisons the ears of her husband agaist Manda and her husband Umapati. On her advice Bhupati ousts both of them. Now the wrath of Charu falls on Amal. On her advice,  marriage of Amal is fixed with a girl with a condition that he would go abroad for higher study. Amal is heartbroken on the treacherous designs of Charu whom he loved, favoured and respected so much in past. When Amal is ready to set out for abroad, Charu feels passionate towards her but Amal is heedless. 

Even after several months Charu gets no letter from Amal for which she had requested many times. All the letters coming from Amal is addressed to Bhupati with only a very brief formal sentence about Charu as convey my regards. Charu is remorseful and the apathy of Amal is grows intolerable for her. Once while she has been deeply contemplating about Amal, Bhupati comes in her room and shows his poem. But Charu has no interest in her husband's work and is talking only about Amal. Bhupati realises that Charu is no more in love with him and now she loves Amal only. He is shocked and within a few days he accepts the  offer of becoming an editor of a newspaper published from another city. When Charu is ready to go with her he refuses to let her join him. Charu knows that it is faultless spiritual love for Amal for what Bhupati is annoyed with her. After some time, Bhupati agrees to let Charu accompany her but now she rejects the idea. When Bhupati asks why, she says it is not only the right of man but also of woman to reject.

The play raises several questions and runs on different spheres at a time. The specialty of Ravindra Nath is keeping the dignity of woman on prime which is proven by placing this issue at the climax. Psychological analysis dominated with women's rivalry of love, women jealousy, man-woman ego clash, spousal relationship are in full shape in the show. 

Charu (Soma Chakraborty) acted a very complex character of Charu forcefully.  Her countenance and accent in dialouge delivery were perfect. Bhupati (Girish Mohan) and Amal (Sanjay singh) also matched her. Umapada (Anil Verma) won the heart of the audience with his impressive body language. Manda (Arpita Ghosh) and other actors also worked well. Direction of Soma Chakraborty was well-focused on acting. Set decoration (Sunil Kumar) was marvelous. Amitabh ranjan, Om Prakash, Atish Kumar, Ravi Kumar and Rajesh Kr. Pandey were the other actors. The sight of book-stashed mammoth rack, goddess picture just above the door frame  and  a big letter "Om" written on Tulsi tree's base wall were creating a real atmosphere of a cultured Bengali abode of pre-independence era. Moreover,  the stunningly realistic sight of Kali temple was fabulous. The sound effect (Upendra Kumar) of Bengali typical customary group voice and light effect (Rajumar Verma) were fine and attuned to the requirement of the scenes. The costumes were fit with the situation and make up (Ajay sinha) was  also judicious. Kishore Sinha has prepared a good drama script with a few changes as per his convenience. Madhuresh Sharan has also made creative contribution to the play.

The show was successful on several fronts and will remain in memory for long.

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Review by - Hemant Das 'Him'

Photographs by - Binay Kumar

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See the group picture of the artists -  Click here