A trade-off between group-dignity and internal crime
( हिंदी में समीक्षा के लिए - यहाँ क्लिक करके क्रम सं. 59 देखिए )
The illiterate villagers are more knowledgeable than the so-called learned class since they at least know that taking help from even a pariah of their class is worth more than beseeching the exploiting groups.
The Mahto group in the village has bought a panchlight (petromax light i.e. a special quality of lantern) to match the status of the dominating groups. Now the problem here is, who can light it up as nobody in their group know to operate this newly commissioned magical implement. After a lot of deliberations it is found that only one person who can do this is one who has been banished from the group. Though there are options to take help of skilled persons belonging to the different dominating classes in the village. But the humble members of this group are conscious of their self-dignity and prefer forgive the minor crime of his member and take his help instead.
The playwright and director Punj Prakash (an NSD alumnus) has taken full care to create a sound justification for the class rivalry. And it is in this light that the member of the exploiter class is shown to be involved in sexual exploitation of a member of the subdued class. The scene of this exploitation is symbolic and shown just for the token purpose to make the message clear. From some of the dialogues it appears that the original script of the legendary writer Phanishwar Nath Renu has perhaps gone necessary minor changes to suit more accurately to the Indian society in the modern era and the playwright has succeeded in doing so skillfully.
The success lies not merely in putting the text of story but to recreate the ambience conceived by Renu. The Head of the villagers is shown to be good by heart but having neither power to understand the situation nor the ability to take decisions in tough situation. So he goes by the advices of others. The director has presented the coyness of the indecisive Headman taking the natural comedy to a new level.
The play was replete of histrionics and the actors lived up that fully. In this show, comedy also emerged from the overacting of the mother of Munari and others. The guileless romance of Godhan and Munari enchanted the audience. The scene of the procession in which the panchlight was brought to the village established the importance of not only the Headman and the Sarpanch but also the person who carried the panchlight on his head. The Headman shows his sagacity how he determined the quality of the panchlight to be purchased that specially suited the needs of the villagers, The Sarpanch himself adds a feather to his cap by stating how he bargained with the salesman for getting the panchlight packed up in a high quality cartoon. Not far behind is the labourer who carried the panchlight when he declared as how difficult it was to taking his steps in shimmering light of the panchlight he carried.
One thing was clear that the the Mahto community was the epitome of inclusiveness where the voice of even the last person was heard in the group. Even an ordinary member like feeble, old or poor ones can raise questions about the ability of the Headman and that too in his face. The Headman has indecisiveness on soft issues like love but has enough awakening as not to waste the hard-earned villager's money in buying a costlier panchlihgt of a little higher quality than required.
There is a character who is always carrying a big 'bora' (sachet) in which he claims there are large number of bombs and he is always ready to make a bomb blast to find a solution. The audience enjoyed his boasts when in the end it was found that there were nothing but stones in the bag.
The old filmi songs have been used profusely and are part and parcel of this play. There were some twenty or so actors out of eight or nine had dialogues. All the actors acted well. (Names are not available to us).
A zestful show maintaining the essence of Renu.
Reviews by- Hemant Das 'Him'
Send your feedback to - hemantdas2001@gmail.com
