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.
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