Sangeet Maanapman

Director & Script Editor– Nipun Dharmadhikari

Writer – Late K P Khaldilkar

Music & Background Score – Gandhar Sangoram

Cast – Rahul Deshpande, Saily Panse, Amey Wagh, Bhaktiprasad Deshmane, Nitin Dhanduke, Siddharth Mahashabde, Siddharth Menon, Sayalee Phatak & Anuja Vartak.

          In recent times Marathi Musicals are not enacted frequently on the stage. Honest artists like Kirti Shiledar have been doing their bit to keep this dying art alive. The Marathi film ‘Balgandharva’ reminded the audience of a legendary but forgotten artist whose life was dedicated to theatre and music. Taking a cue Nipun Dharmadhikari attempts to recreate the golden era of Marathi theatre with ‘Sangeet Maanapman’.

          Dhairyadhar (Rahul Deshpande), a trusted lieutenant of King Chakradhar is set to marry Bhamini (Saily Panse), the daughter of Babasaheb (Nitin Danduke). A brave and highly principled Dhairyadhar does not believe in materiality. He gives his assent for marriage purely out of respect to Babasaheb.  Bhamini learns about Dhairyadhar from Kusum (Sayalee Phatak) and Akkasaheb (Anuja Vartak). She develops an opinion about the groom (without even seeing him) and her ego adds fuel to the fire. Lakshmidhar (Amey Wagh), who wants to marry Bhamini, seeks the help of Vilasdhar (Bhaktiprasad Deshmane) to misguide her.  As a result she walks out of marriage, but not before she’s insulted Dhairyadhar.

          Later Bhamini and Kusum start living in disguise under the name of Vanamala and Pushpamala respectively.  Vilasdhar (who knows this secret) asks Lakshmidhar to save Bhamini from a mock attack and win her confidence.  When they stage it Dhairyadhar, along with his aide Sheeldhar (Siddharth Menon), come to her rescue. He’s mesmerised by Vanamala and falls for her without knowing her true identity. Bhamini realizes her mistake and soon her heart begins to melt. She tries to make amends but this time Dhairyadhar refuses her.  Bhamini decides to impress him as Vanamala and win him at all costs. Does she succeed?  For the answer watch the play.

          Rahul Deshpande is extraordinary as Dhairyadhar. It’s hard to believe that he’s not taken a formal training in acting. Saily Panse is equally good in her portrayal of Bhamini. Her character reminds you of Elizabeth Bennet of Pride and Prejudice.  Amey Wagh and Bhaktiprasad Deshmane tickle your funny bone throughout the course of the play. You’ll even laugh during the song assigned to the duo. The rest of the cast has provided valuable support.  One (negligible) glitch is that of the dialogues, which need to be worked upon.

          Music is the backbone of this play.  While retaining the original compositions, Gandhar Sangoram has added some new (and beautiful) pieces to the background. The songs ‘Shura Mee Vandile’, ‘Khara to Prema’, ‘Ravi Mee, ‘Yuvatimana Darun Ran’ and  ‘Mala Madan Bhase Ha’ are my personal favourites. The vocal talents of Rahul and Saily are clearly visible.  The melodious sound of the organ (played by R Paranjpe) leaves the audience asking for more. And yes, the chant of ‘Once more’ is honoured instantly.

          Nipun has once again proved his brilliance in directing. A hundred year old play has been revived with excellence and simplicity. Set by Keyur Godse and costumes by Sayalee Phatak get full marks. A projector has been used to display various backgrounds. The scene in which Bhamini looks in the mirror (thinking of Dhairyadhar) deserves a special mention. Lights are used in a way that the rays do not affect the projection screen.  The use of technology has been made efficiently in the play.

          I’m going with four out of five and two big thumbs up for Nipun Dharmadhikari’s ‘Sangeet Maanapman’. It’s a must watch for the youth to understand Marathi musicals.