SANGEET KATYAR KALAJAT GHUSALI

Synopsis

Marathi Sangeet Theatre has a very rich tradition over 125 Years. Katyar Kalajat Ghusali , JEWEL of Marathi Sangeet Drama, is a melodious duel between bitter Pride & Rivalry between two Sangeet Gharanas (School of thought in Indian Classical Music).

Pandit Bhanushankarji & Khansaheb Aftab Husein , Great Pillars of their own musical Gharanas (Musical Schools) , are the Artists of great heights in their own way. After 10 years of constant efforts , Khansaheb defeats Panditji ,invincible till then, & becomes Singer of the Royal Court. A young student - Sadashiv, claiming to have gained some knowledge from Panditji happens to beg Khansaheb to accept him as his student. But stubborn royalty to the Gharana of music, prevents this thishappenings . How Sadashiv, with the help of Uma & Zarina , daughters of Panditji & Khansaheb, achieve his goal to get Mastery in music is very optly shown in the play.

Cast and Credit

The play written by Shri Purushottam Darvekar & music composed by Pt. Jitendra Abhisheki, initially staged in December 1967.It has become a landmark in Marathi Musical Theatre & created history. The play exhibits relationship between the Master ( Guru ) & the Disciple ( Shishya ). Throughout Shri Darvekar has expressed tussel between two musical paths in Indian Classical Music with the precise use of Music & equally powerpacked dialogues. There is a very thoughtful use of Traditional Indian Classical & Semiclassical Music in the form of Bandish alongwith Thumari, Bhajan, Quawali etc.

Lyrics

poetic & musical plot, full of emotional turmoil, & musical lyrics meaningfully embedded which reminds the viewers the tunes like Ghei Chhand Makarand, Muralidhara Sham, Surat Piyaki Na, Lagi Kalejava Katar, Tejonidhi Lohgol & Ragamala was again staged by Bharat Natya Mandir, Pune in year 2000. Director Ravindra Khare has successfully recreated the magic of Katyar in present form of 3 Hrs., 2 act play without compromising the Artistic Values both in Prose & Music. He says the play has written in such a way that it has a great character in the form of Khansaheb, who himself is the Hero & the Villain of the play. Mr. Rajiv Paranjpe has controlled the musical side equally well.

Presently

Bharat Natya Mandir, 115 years old organization , is a witness to the rich cultural heritage of Indian Theatre.It has definitely passed a taste of time, which presents atleast 10 different traditional & new marathi musical dramas. The group has youthful actors & actresses who come from different professions. They are committed to keep the flag of musical marathi theatre flying. The organization has staged Katyar, all over India, including N S D - Delhi, Gwalior, Bangalore, Mumbai, Nagpur & Goa.

Sangeet Kanhopatra

Synopsis

‘Kanhopatra’ depicts the life of the eponymous medieval (14th/15th century) maiden. Born to a prostitute in Mangalvedha, a village near Pandharpur, Kanhopatra becomes an ascetic very early on in her life. Despite her mother Shamabai’s profession, she is not drawn to carnal pleasures. She finds solace in chanting holy chants and songs taught by Chokhoba, a ‘vaarkari’ who is employed by Shamabai as a sweeper and handyman. Despite her initial reluctance, Shamabai gives in to Kanhopatra’s way of life.

Vilasrao, an administrator stationed in Mangalvedha, is attracted to her, leaving his own wife, Sheelavati, in misery. The eloquent names of these two characters reveal their personality; while ‘Vilas’ is associated with hedonism in Sanskrit, ‘Sheelavati’ means ‘the honorable one’.

After failing in his plans to lure Kanhopatra, Vilasrao tries to force himself on her, having locked up her mother first. However, his plans are foiled by the timely arrival of his wife Sheelavati. Following this, Kanhopatra tells her mother to leave Mangalvedha and go to Pandharpur.

Anandrao, one of Vilasrao’s cohorts, tries to abduct Sheelavati, knowing of Vilasrao’s mistreatment of his wife. Anadrao’s plans are foiled by Kanhopatra and her tutor Chokhoba, who tie Anadrao to a tree and make for Pandharpur.

In Pandharpur, Kanhopatra is stopped by two of the temple’s attendants, who demand that she pledge her devotion by singing a devotional song. Bowing to these demands, Kanhopatra starts to sing. Meanwhile, Anandrao lays siege to the temple and announces his intention to arrest and present Kanhopatra to the Sultan of Bedar as a gift. Kanhopatra threatens to kill herself if her wish to enter the temple is denied, upon which Anandrao allows her to visit the temple.

Kanhopatra beseeches Lord Vitthal to protect her in her time of need and take her to Vaikuntha(heaven). Miraculously, Kanhopatra’s devotion comes to fruition, as her spirit leaves her body.

Cast and Credit

‘Kanhopatra’ was written by N. V. Kulkarni. The songs in this play have been composed by M. Krishnarao and Pt. Vinayak Patwadhan. The play is directed by Ravindra Khare.

1. Chokhoba: Charudatta Afale
2. Vilasrao: Sanjeev Mehendale
3. Anandrao: Anand Panase
4. Gulabchand: Vishwas Pangarkar
5. Kanhopatra: Gauri Patil
6. Sheelavati: Kavita Tikekar
7. Shamabai: Supriya Gosavi

Sangeet Manapaman

Synopsis

‘Manapaman’ is K. P. Khadilkar’s first musical. One of his 6 prose plays, ‘Keechakavadh’, had been banned by the British Raj, since Khadilkar worked at the inflammatory newspaper ‘Kesari’ founded by LokamanyaTilak, and was of revolutionary leaning. Learning his lesson, Khadilkar toned down ‘Manapaman’ to a seemingly simple love story. He did, however, manage to put across his appeal to the Indian people to seek strength and valor rather than riches.

When King Prithvidhar is plagued by constant raids from neighboring clans, he turns to the poor but brave ‘Sardar’ (Knight/General) Dhairyadhar. His success on the battlefield leads an old Sardar, Babasaheb, to decide to arrange a wedding between his daughter Bhamini and Dhairyadhar.

However, Babasaheb’s plans are foiled by Bhamini, who rejects Dhairyadhar without even giving him audience, since he is much poorer than her family. A hurt Dhairyadhar then berates Bhamini as a spoilt girl and rejects Babasaheb’s proposal.

Babasaheb tries to convince Bhamini that while money is a luxury to be valued, valor and bravery is what make a man and should be valued more. He proposes a solution that she live near the battlefield for a month, in order to learn this valuable lesson. Bhamini agrees to this proposal and lives near Dhairyadhar’s encampment in disguise, with the alias of Vanamala.

Around the barracks, Bhamini, disguised as Vanamala, realizes the truth of her father’s advice, as she sees that many of the army leaders have acquired their position through their high social standing and are undeserving of their designations on merit alone. Lakshmidhar, one of the coward but rich army leaders in the encampment, unsuccessfully tries to woo Bhamini, who rejects him due to his unmanly lack of bravery and dignity. The names of these two contrasting suitors of Bhamini reveal what they represent in the symbolic scheme of the play: ‘Lakshmidhar’ means ‘the one with riches’ in Sanskrit, while ‘Dhairyadhar’ means ‘the one with valor’.

In the encampment, Dhairyadhar comes across Bhamini (as Vanamala) and, having never seen her before, falls in love with her, a feeling that Bhamininow reciprocates. She tells her father that she is ready to marry him. A jubilated Babasaheb calls Dhairyadhar to discuss his proposition again, only to have Dhairyadhar reject Bhamini in favor of Vanamala. However, after realizing the truth of the matter, Dhairyadhar accepts Bhamini. Meanwhile, in recognition of Dhairyadhar’s achievements on the battlefield, the King gives him an honor and a fiefdom, emphasizing Khadilkar’s appeal that valor and bravery doesn’t go unrewarded in the end.

Cast and Credit

This play, adorned by classical and semi-classical compositions byGovindraoTembe, was first performed on March 12, 1911, in Pune, with a strong cast including Balgandharva, NanasahebJogalekar, GanpatraoBodas, etc.

1. Director: Ravindra Khare
2. Dhairyadhar: Charudatta Aphale
3. Bhamini: Gauri Patil
4. Lakshmidhar: Anand Panse
5. Sheeldhar: Abhay Jabade
6. Akkasaheb: Kavita Tikekar
7. Babasaheb: Shashikant Nafade
8. Vilasdhar: Ravindra Khare

Sangeet Mruchhakatik

Synopsis

'Mruchchhakatik', which means 'earthen cart' in Sanskrit, was originally written by the playwright Shoodrak, who flourished before the times of Kalidasa. Translated into Marathi by the eminent playwright G. B. Deval, the Marathi version is a shorter than the original 10-Act play.

The story of this famous play, set in Ujjain, revolves around the generous and moral Charudatta and an escort-courtesan, Vasantasena. Charudatta's selfless generosity and moral fortitude eventually leads him to poverty, but the very same qualities endear him to Vasantasena. The play describes the complications that arise through this unlikely romance.

The narrative is advanced through the supporting characters of Maitreya, Charudatta's best friend, Madanika, one of Vasantasena's maids, and Sharvilak, Madanika's paramour.

Shakaar, the king's corrupt and insolent brother-in-law, is in love with Vasantasena, and unsuccessfully tries to woo her. After his lecherous advances are spurned by the upright Vasantasena, he tries to asphyxiate her. Believing he has succeeded in his heinous act, he then successfully has Charudatta convicted of the crime of Vsantasaena's murder, thanks to his political clout.

Meanwhile, the city's masses revolt against the corrupt administration and Charudatta's friend, Aryak, becomes the king. With the aid of Vasantasena, who had, unbeknownst to Shakaar, only been unconscious, Charudatta is released from death row. Shakaar is convicted of the crime and receives the corresponding punishment.

The tale presents the juxtaposition of the morally corrupt rulers, represented by Shakaar, and the upright masses, represented by the socially inferior (due to her profession) but honorable Vasantasena. Upholding the tradition of Marathi musicals, numerous songs in this play are hugely popular.

Cast and Credit

This two-act play is directed by Ravindra Khare; Rajeev Paranjape acts as the coordinator for the musical portion.

1. Charudatta Aphale (Charudatta)
2. Gauri Patil (Vasantasena)
3. Dr. Ram Sathye (Maitreya)
4. Sanjeev Mehendale (Sharvilak)
5. Anand Panase (Shakaar)
6. Ravindra Khare (Chent)

Sangeet YAYATI - DEVAYANI

Synopsis

Written by Shri V V Shirvadkar , alias Kusumagraj, the story is based upon a conflict between Bramahtej - priesthood & Kshatratej - warrior spirit. The drama based on Mythological Story in pre-Mahabharat Era ,having a reference to the conflict between Deva (Gods) & Danavas (Demons).

Because of the denial in love by ‘Kach’ , son of Devguru ( teacher of Gods) Brihaspati, angry Devayani seeks her revenge by the way of cursing Yayati & transforms him into very old & crippled man. But her past lover – Kach – makes her realize the true meaning of Love & Friendship.

Kach retransforms Yayati to his original form by praying the God using the Sanjeevani Mantra (Life Saving chants), which he earns from Danavguru Shukracharya (Devayani’s Father) & helps Devayani to re-establish her marriage.

The play is full of Ornamentally Rich Marathi Language. The conflict between the soul & the body is effectively portrayed in the drama.

Cast and Credit

The music of the drama is composed by Legendary Composer Pandit Jitendra Abhisheki & has very famous songs in Marthi like He Suranno Chandra Vha, Prem Varadan , Yati Man- mam , Sarvatmaka Sarveshwara.

About the Director

Mr. Ravindra Khare is not only director, but is also a writer and an expressive actor. With his knowledge about Musical & prose Marathi theatre , he is well-recognised as a unique director for Musical Marathi Dramas.He is also a wonderful comparer for many programmes related to Natyasangeet & Bhaktisangeet. He has won Best Actor & Best Director awards at State Level Competitions.He has written Musical play Nishabda Majgharat which was appreciated at various places. He lends his voice to many ad- films & also acts in many renowned TV-serials. Soft-spoken & religious in attitude, Mr. Khare really desires to bring Bharat Natya Mandir on world –map. Under the able guidance of Mr. Khare, this Group has created a taste for traditional Theatre and its music.

About the Playwright

Shri Vishnu Vaman Shirwadkar alias KUSUMAGRAJ , winner of Sahitya Academy Award is a brilliant poet & talented Dramtist in Marathi. He has created a new benchmark in Marathi Literature & theatre.

He handled different literature forms like Poems, Dramas, Novels, Stories & short essays. He vehemently attacked social injustice & inequality thro’ his writings.He was a proponent of the principle that literature should abide by social obligations which he followed in his writings.

He has written many plays & a few names are Veej Mhanali Dharatila , Nat Samrat, Kaunteya, Doosara Peshawa, Vaijayanti & Rajmukut. His collection of poem includes Jeevan Lahari, Vishakah, Muktayan, Vadal vel, Kinara & Marawa.

Director’s Note

Marathi Sangeet Natak has a rich tradition of 130 years. First Sangeet Natak Shakuntal was based on the legendery work of Mahakavi Kalidasa & was performed at Pune on 31st Oct. 1880.

Sangeet Yayati Aani Devayani is a very popular Marathi Play written by Shri V V Shirwadkar & the music was composed by Legendary Music director Pt. Jitendra Abhisheki.

The drama shows many Emotions of the mankind & the writer comments on these feelings throught the play thro’ the characters. The set of the drama is also designed as Open Ended, on levels, having significance to the endless emotions & feelings of Human beings.

He Bandh Reshamache

Synopsis

Marathi Sangeet Natak has a rich tradition which goes back to 1880, when first Marathi Musical was performed in Pune. This play ‘He Bandh Reshmache ‘, was written by well known Marathi playwright & novelist Late Shri Ranajit Desai. The songs were written by Smt. Shanta Shelke & music was composed by Pandit Jitendra Abhisheki .The play was first staged in 1972.

The play revolves around the friendship of two Classical Singers of different religions who were forced to separate during India – Pakistan Partition & the misunderstandings between the two friends. At the end, the reunion of the two families is portrayed lyrically in this play.

The most important part of this play is Music. Pt.Jitendra Abhisheki has used many forms of Indian Classical music such as Bandish , Thumari , Bhajan , Gajhal & maharashtra’s very own folk form Lavani also.

The famous Tunes from the play are Kaata Rute Kunala, Vikal Man Aaj Zurat Asahay, Sajana Ka Dharila Parades, Chhediyalya Taara, Aaj Sungadh, Raya Tumhi Javal Mala Ghyal ka etc.

Cast and Credit

DIRECTOR’S NOTE

The subject of India-Pakistan partition is very thought provoking and interesting. Still it was not tried by any writers through musical forms. Many artists have faced the dire situation during those days. Because of the political partition between the two countries, common man had to suffer a lot. This exact situation is portrayed in this drama.

This drama portrays a friendly bond between the families of two classical singers of different religions. The social circumstances forced them to seperate.

To avoid certain things, Shrikant’s wife – Laxmi –had to commit suicide leaving behind her 5 year old daughter –Shama. Shama ,then adopted by Shrikant’s friend – Amir- renames her as Reshma & tries to reunite her with her father Shrikant migrated in India during the partition.

DIRECTOR’S RESUME

The director of this play Mr. Ravindra Khare is a well known actor on Marathi stage & media. He has also written a musical Nishabda Majgharat, which has won prizes at State Level.

He is closely associated with Bharat Natya Mandir Group for more than 30 years & holds position of The Trustee of the institution. He is an excellent compere for programs related to Natyasangeet & Bhakti sangeet. He has directed more than 15 Marathi Musicals.

He has won many Best Actor & Best Director awards at State Level Competitions. He lends his voice to many ad- films & also acts in many renowned TV-serials. Soft- spoken & religious in attitude, Mr. Khare really desires to bring Bharat Natya Sanshodhan Mandir on world –map. Under the able guidance of Mr. Khare, this Group has created a taste for traditional Theatre and its music.

PLAYWRIGHT’S RESUME

The playwright, Late Mr. Ranjit Desai, a legendary Novelist in Marathi Literature has many great novels like SHRIMANYOGI, RADHEYA, SWAMI, RAJA RAVIVARMA etc to his credit. He has written the plays named as Swarsamrat Tansen, Kanchanmriga, Warasa, Dhan Apure, Pangulgada, SWAMI etc. He has written scripts for films also.

His Musical, ‘He Bandh Reshmache’ is one of the most famous plays considering the dialogues, Lyrics & Music. The songs are very popular.

As a writer, he has received many awards throughout his life like Sahitya Academy & was awarded Padmashree & Maharashtra Rajya Gaurav.