![]() A classic example is “Pundalik Vardaan ‘Gauri’ Vithal” – where the word “Hari” has been replaced by Gauri,an obvious reference to Lalita Gauri ! Vijay Tendulkar has penned subtle and not-so-subtle nuances in each and every line, causing one to smile throughout and laugh heartily ever so often. There is even a ‘qawwali’ in the latest version of this drama!īhaskar Chandavarkar’s musical score is a sheer treat. ‘abhang’,’ kirtan’, ‘powada’, ‘lejhim’, and of course the ‘lavani’. The entire play is a musical show casing all the Marathi folk art forms – It is actually a political satire on our times. Sadly, women are portrayed as pawns in the hands of men. The Brahmins of Pune are portrayed as drunken debauchees who make discreet nocturnal visits to dancing girls. Nana Phadnavis is caricatured as a lecherous old fogie who chases teenage girls. Ghashiram trades his daughter Lalita Gauri to Nana Phadnavis in exchange for the position of Kotwal (police chief) of Pune. The setting is the eighteenth century and the story is based on Ghashiram Sawardas who is the main protagnist (and not Nanasaheb Phadnavis). Written by the late Vijay Tendulkar in the seventies and directed by Dr Jabbar Patel,this play irked many an ire and was even banned for a while. ![]() The opportunity presented itself a few days ago when it was re-staged by the Rangkarmi theatre group. Having immensely enjoyed this Marathi musical drama nearly two decades ago,I was keen to watch it once again. ![]()
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