Sangeet Sanshaykallol





Director – Nipun Dharmadhikari

Assistant Director – Siddharth Menon

Writer – Late Govind Ballal Deval

Background Score – Gandhar Sangoram

Cast – Rahul Deshpande, Priyanka Barve, Amey Wagh, Deepti Mate, Siddharth Menon, Sayalee Phatak & Bhushan Mate.


‘Pure love and suspicion cannot dwell together.  At the door where the latter enters the former makes an exit.’
                                                                             Alexandre Dumas Pere


Sangeet Sanshaykallol was first staged by the Gandharva Natak Mandali, after writer Govind Ballal Deval’s death, in 1916. The play was an instant hit, as it dealt with the vital issue of husband-wife distrust, with elements of fun. Even today suspicion can lead to drastic consequences. The new version directed by Nipun Dharmadhikari advocates this theory.


          The play begins with Phalgunrao (Amey Wagh) coaxing his servant Bhadvya (Siddharth Menon) to ascertain the whereabouts of his wife Krutika (Deepti Mate). An ageing Phalgunrao is blinded by suspicion, which makes him go to world’s end to keep an eye on her. Bhadvya informs him that she is at the temple of Kartiknath. Meanwhile, love blossoms between young Ashwinsheth (Rahul Deshpande) and his wife Revati (Priyanka Brave). As an expression of love Ashwinsheth gifts her with his miniature portrait. Coincidentally Revati has planned to pay a visit to the same temple.


          When Krutika returns Phalgunrao bombards her with numerous questions that irritate her. The argument ends on a sour note. On her way to the temple Revati nears Phalgunrao’s home and feels dizzy. She faints and when she’s about to collapse Phalgunrao rushes to help her. Krutika miscalculates this act of courtesy and is all set to vent her anger. She discovers the portrait left behind by Revati and brings it home that results in another misinterpretation; this time in the mind of Phalgunrao. In a series of events suspicion leads to the creation of a bridge between the two couples. What happens when misunderstanding gets the better of love?? For the answer watch the play.

         
Rahul Deshpande continues to mesmerize the audience with his voice as well as his acting. He proves that he can play the role of the extrovert Dhairyadhar (in Maanapaman) as well as the introvert Ashwinsheth with ease. Deepti Mate is dominant amongst the females. Her sarcasm leaves the audience in splits. Priyanka Barve is blessed with a golden voice but needs to put in a little more effort in acting. Siddharth Menon, Sayalee Phatak and Bhushan Mate are prefect as supports. Amey Wagh deserves a special mention for his portrayal of Phalgunrao. He stands out amongst the cast with his impeccable comic timing. (His performance reminded me of the schoolmaster in ‘Dalan’). 


Nipun Dharmadhikari is flawless as the director. He has managed to strike the right chord, by maintaining a balance between music and drama. Govind Ballal Deval named the males after Marathi months and females after Marathi nakshatras. The characters hence became unforgettable. The songs are melodious. Immortal compositions like ‘Kar Ha Kari’, ‘Majawari Tayanche’, and ‘Mruganayana Rasik Mohini’ are those to watch out for. Background music by Gandhar Sangoram is equally good. Lights (by Sujay Bhadkamkar) are used effectively to convey the emotions depicted on stage. Set design by Prasad Valavalkar is excellent while Sayalee gets full marks for costumes. 


            I’m going with four out of five stars and two big thumbs up for Nipun Dharmadhikari’s ‘Sangeet Sanshaykallol’. If you haven’t seen it then you’ve certainly missed something.

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