Writer Sivasankari’s stories find a theatrical voice

Popular writer Sivasankari’s stories, written implicit a agelong and prolific vocation crossed a wide scope of subjects, person agelong resonated with readers of Tamil periodicals. Selecting six from her immense repertoire, Dharani Komal has adapted them for the stage, presenting the postulation arsenic Sivasankari at the Vani Mahal theatre festival.

Each of the selected stories explored themes whose halfway affectional values would resonate with viewers. The mode successful which the plays were compiled was arsenic engaging — opening with simple, light-hearted anecdotal pieces and gradually moving towards much superior affectional territory, earlier culminating successful a reflective, retrospective finale.

Kazhudhai Theyndhu was a elemental communicative astir a housewife’s effect to a paper advertisement seeking donations for a cause. Her instinctive generosity arising retired of the concern dilatory dissipates implicit clip — a displacement handled with gentle humour. The spontaneity and dialog transportation by the histrion Vidya Lakshmi, as Poorna, livened up the scenes with her spontaneity and dialog delivery.

The 2nd story, Sandai, which begins with a heavy romance of a doting couple, gradually turns into superior antagonism, culminating successful divorce. While it mightiness person worked good arsenic a abbreviated story, the dramatisation made the full script look contrived and unnatural. Shifting to a socio-political register, the adjacent segment, Thalaivar Vandhar, was a communicative connected the unexpected benefits that accrue from the cancellation of a minister’s visit. 

Ayaah, which centres connected however a widowed colony pistillate is treated and taken vantage of by her ain lad and daughter-in-law, is simply a almighty commentary connected the mode galore elder citizens are treated by their children today. Through subtle mannerisms, elaborate characterisation and nuanced conveyance of emotions ranging from happiness to sorrow and disillusionment, Nanjil Revathi brought extent to her portrayal of Vadivambal. Details to the costume drape enriched the performance.

Deivam Ninru Kollum, a instrumentality connected karmic retribution, and Theppakulam that takes a travel down representation lane, were intense, affectional stories that lent themselves good to theatrical exploration.

Is it coincidental that each stories were centred connected women — their lives, emotions, and experiences? Barring one, successful which Vignesh Chellapan arsenic Parama Guru had a large role, the antheral characters mostly served arsenic fillers successful the narratives. The stories featured actors Sahasranaman, Siddharth, Kaavya, Sashikanth, Anu Kannan, Kannan Rudrapathy and Baby Saroja.

Deviating from the accustomed painted signifier settings, the usage of LED projections (visualised by Thyagarajan) added to the ocular appeal. Lighting was handled by Chetha Ravi, and the euphony was composed by Viswaajay. Dharani Komal’s skilful absorption — orchestrating the crisp travel of movements and scenes — combined with good performances from the actors, sustained the momentum throughout.